Fiona Banner

Born 1966 Merseyside

Lives and works in London





1986-1989       BA Fine Art, Kingston Polytechnic, London, England

1991-1993       MA Fine Art, Goldsmiths College, London, England




2017   Runway (AW 17), Museum De Pont, Netherlands

2016   Buoys Boys, De La Warr Pavilion, Bexhill, England

          Au Coeur des Ténčbres, mfc-michele didier, Paris, France

          Fiona Banner, Galerie Barbara Thumm, Berlin, Germany

          Fiona Banner, 1301PE, Los Angeles, CA

Scroll Down And Keep Scrolling, Kunsthalle Nuremberg, Germany

Study #13. Every Word Unmade, Fiona Banner, David Roberts Art Foundation, London, UK

2015   Scroll Down And Keep Scrolling, Ikon Gallery, Birmingham, UK

FONT, Frith Street Gallery, London, UK

2014   Wp Wp Wp, Yorkshire Sculpture Park, Wakefield, UK

          Mistah Kurtz - He Not Dead, PEER, London, UK

2013   The Vanity Press, Summerhall, Edinburgh, UK

2012   Unboxing: The Greatest Film Never Made, 1301PE, Los Angeles, CA


2011   Snoopy vs The Red Baron, Galerie Barbara Thumm, Berlin, Germany


2010   The Naked Ear, Frith Street Gallery, London, England

Harrier & Jaguar, Duveen Commission 2010, Tate Britian, London, UK

Tornado, Co-commission by Locus+ and Great North Run Culture, Newcastle, UK

All the World's Fighter Planes, Musée d'art de Joliette, Québec, Canada


2007   Peace on Earth, Tate Britain, London, UK

Every Word Unmade, Galerie Barbara Thumm, Berlin, Germany

The Bastard Word, Power Plant, Toronto, Canada


2006   All the World's Fighter Planes, Printed Matter, New York, NY

Nude & Parade, Tracy Williams Ltd., New York, NY

Nude, Frith Street Gallery, London, England

Fiona Banner, 1301PE, Los Angeles, CA


2004   Arsenal, Galerie Barbara Thumm, Berlin, Germany


2003   Fiona Banner, 1301PE, Los Angeles, CA

Fiona Banner, Murray Guy, New York, NY


2002   Fiona Banner, Frith Street, London, UK

Your Plinth is my Lap, Neuer Aachener Kunstverein, Aachen, Germany

Your Plinth is my Lap, Dundee Contemporary Arts, Dundee, Scotland


2001   Fiona Banner, Murray Guy, New York, NY

Areswoman in Wonderland, Galerie Barbara Thumm, Berlin, Germany

Rainbow, 24/7, Hayward Gallery, London, UK


2000   Souixante-Neuf, Charles H. Scott Gallery, Emily Carr Institute, Vancouver, Canada

          Fiona Banner, 1301PE, Los Angeles, CA


1999   Fiona Banner, Murray Guy, New York, NY

Statements, Basel Art Fair, Switzerland

Asterisk, Gesellschaft für Aktuelle Kunst, Bremen, Germany

Don't Look Back, Brooke Alexander, New York, NY

The Nam and Related Material, Printed Matter, New York, NY

Stop, Frith Street Gallery, London, UK


1998   Art Now, Tate Britain, London, UK

The Nam, 1301PE, Los Angeles, CA

Love Double, Galerie Barbara Thumm, Berlin, Germany


1997   The Nam: 1000 page all text flick book, London, UK

Only the Lonely, Frith Street Gallery, London, UK


1995   Viewing Room, Luhring Augustine Gallery, New York, NY


1994   Pushing Back The Edge Of The Envelope, City Racing, London, UK




2017    Turkish Tulips, The Bowes Museum, County Durham, UK
Summer Breeze, Frith Street Gallery, London, UK
Sunset Decor, Marian Goodman Gallery, New York, NY
Words Words Words, Gallery Sofie Van de Velde, Antwerp, Belgium
A Map they could all understand (The Hunting of the Snark, Lewis Carroll, 1876), Galerie Albert Baronian, Brussels, Belgium
Cinéma Mon Amour. Film in Art, Aargauer Kunsthaus, Aarau, Switzerland
Artist Spaces, Weserburg Museum of Modern Art, Bremen, Germany
Murray Guy, Murray Guy, New York, NY

2016    Diana Thater and Fiona Banner, 1301PE, Los Angeles, CA

NEON: The Charged Line, Grundy Art Gallery, Blackpool, England

Never Judge a Book..., Richard Booth's Bookshop, Hay-on-Wye, England

Found, Foundling Museum, London, England

...and yet one more world, Kunsthaus Hamburg, Germany

2015   Walkers: Hollywood Afterlives in Art and Artifact, Museum of the Moving Image, New York, NY

Periodic Tales: The Art of the Elements, Compton Verney, Warwickshire, UK

Dora, Stanley Picker Gallery, London, UK

Station to Station: A 30 Day Happening, Barbican Centre, London, UK

Void: There's Nothing More Left, But A Little Trace From Human Beings, Ginkgo Space, Beijing, China

Le Souffleur: Schürmann meets Ludwig, Ludwig Forum for  International Art, Aachen, Germany

Fiona Banner / Ann-Sofi Sidén, Galerie Barbara Thumm, Berlin, Germany

2014   The Nakeds, De La Warr Pavillion, East Sussex

          Stamp Out Photographie: Fiona Banner selects from the V-A-C Collection, Whitechapel Gallery, London    

          The Nakeds, Drawing Room, London, UK

Summer Exhibition, Royal Academy, London, UK

          Building Site, Hardwick Hall, Chesterfield, UK

          Postscript: Writing after Conceptual Art, Broad Art Museum, East Lansing, MI

          This Page Intentionally Left Blank, Akbank Art Center, Beyoglu, Istanbul

2013   Knock Knock: Seven Artists in Hastings, Jerwood Gallery, Hastings, UK

Words to be Spoken Aloud, Turner Contemporary, Margate, Kent, UK

Tracing the Century: Drawing as a Catalyst for Change, Middlesbrough Institute of Modern Art, UK

Word.Image.Space, Gesellschaft fur Kunst und Gestaltung, Bonn, Germany

I Think It Rains Quadrilogy 2, Hong Kong, Burger Collection at Cattle Depot Artist Village, Hong Kong

Glasstress 2013, Palazzo Cavalli-Franchetti, Venice, Italy

Postscript: Writing after Conceptual Art, The Power Plant, Toronto, Canada

Viewfinder, Tim Sheward Projects, London, UK

          Exploding Utopia, Laure Genillard, London, UK

          Invitation to a Beheading, Marianne Boesky Gallery, New York, NY

          Signs and Messages II, Kate Macgarry, London, UK

          Go! You Sure?Yeah., LUMA/Westbau, Zurich, Switerzland

          The Dark World, Summerhall, Edinburgh, UK

2012   Greetings from Los Angeles, Starkwhite, Auckland, New Zealand

Tracing the Century: Drawing as a Catalyst for Change, Tate Liverpool, UK

Postscript, Museum of Contemporary Art, Denver, CO

HELP/LESS, Printed Matter, New York

Keywords and the Powers of Eloquence, Kunsthaus Baselland, Basel, Switzerland

Graphology, The Drawing Room, London, England; Art Exchange, University of Essex, Colchester

Text in Process, RH Gallery, New York, NY

So to Speak, BRIC Rotunda Gallery, New York, NY

Alice in Wonderland, Museo di Arte Moderna e Contemporanea di Trento e Roverto, Italy; Hamburger Kunsthalle, Hamburg

Neon, Who's Afraid of Red, Yellow and Blue? La Maison Rouge, Paris, France

La Petite Muerte, Drawers Gallery, London, UK


2011    Alice in Wonderland, Tate Liverpool, England

Vis A Vis, Rossi Contemporary, Brussels, Belgium

Dance/Draw, ICA, Boston, MA

September 11, MoMA PS1, New York, NY

Friendship of The peoples, Simon Oldfield, London, England

I Am Still Alive: Politics and Everyday Life in Contemporary Drawing, MoMA, New York, NY

God Made Me Hardcore, Proyectos/Sauna, Bogotá, Colombia

Women War Artists, Imperial War Museum, London, England

Everything in Time, The Center for Book Arts, New York, NY

...avec Excoffon, IFF, Marseille, France


2010   Everything in Time, Visual Studies Workshop, Rochester, NY

Fiona Banner, Marcus Becker, Diango Hernández, Galerie Barbara Thumm, Berlin, Germany

Let's Dance, Mac/Val, Paris, France

Musée Los Angeles, Musée Los Angeles, Los Angeles, CA

DLA Pipe Series: This is Sculpture, Tate Liverpool, England

Nothing is Forever, South London Gallery, London, England

Behind the Green Door, Harris Lieberman, New York, NY

One Room, One Work, 1301PE, Los Angeles, CA

After the Volcano, Frith Street Gallery, London, England

Sommerausstellung 2010, Galerie Barbara Thumm, Berlin, Germany

... But the Clouds ... History and what the Artists Think, The Musée de l'Appel de la liberté, Fontaine de Vaucluse, France

Emporte-Moi/Sweep me of my feet, Mac/Val, Paris, France

Echo… from the age that I was able to see it, Koraaleberg Gallery, Antwerp, Belgium

Peeping Tom, Vegas Gallery, London, England


2009   Session 7 Words, Am Nuden Da, London, England

Winter Light, 1301PE, Los Angeles, CA

Exquisite Trove, The New Art Gallery Walsall, England

Punctuation Marks: Text and Language in Modern British Sculpture, Henry Moore Institute, Leeds, England

Send, Two Rooms Contemporary Art Gallery, Auckland, New Zealand

Summer Show in April Weather, Galerie Barbara Thumm, Berlin, Germany

London Calling: Who Gets to Rule the World, Total Museum of Contemporary Art, Seoul, South Korea

Parades and Processions, Parasol Unit, London, England

The Sculpture Show, V22, The Almond Building, London, England

Inspired, Art Trust, Mitchell Library, Glasgow, Scotland

Diana and Actaeon: The Forbidden Glipmse of the Naked Body, Compton Verney, Warwick, England

Just What Are They Saying, Jonathan Ferrara Gallery, New Orleans, LA

Mind The Step, 1301PE, Los Angeles, CA


2008   Las Líneas de la Mano, Museuo Universitario de Arte Contemporáneo, Mexico City, Mexico

Diana and Actaoen: The Forbidden Glimpse of the Naked Body, Museum Kunst Palast, Dusseldorf, Germany

More Than Words, Von Lintel Gallery, New York, NY

That Was Then… This Is Now, MOMA PS1, New York, NY

In the Society of London Ladies, a Dispari & Dispari Project, Reggio Emilia, Italy

Fiona Banner/Matt Mullican, Tracy Williams Ltd, The Armory Art Fair, New York, NY

Power, Foxy Production, New York, NY

Collection As Aleph, Thyssen-Bornemisza Art Contmeporary, Kunsthaus Graz, Austria

In the Beginning, University Art Gallery at the University of California San Diego, CA

You Silently, University of Essex, Colchester, England

2007   Neon, National Glass Centre, Sunderland, England

Body Politicx, Witte de With, Rotterdam, The Netherlands

Signs and Messages from Modern Life, Kate MacGarry, London, England

Presque Rien 1, Laure Genillard Gallery, London, England

Das Buch, Heidelberger Kunstverein, Heidelberg, Germany

Global Feminisms, Brooklyn Museum, New York, NY (touring exhibition)

Live/Work: Performance into Drawing, MOMA, New York, NY

Deep Inspiration, Jerwood Space, London, England


2006   Collage Effect, 1301PE, Los Angeles, CA

Eye on Europe: Prints, Books & Multiples, MOMA, New York, NY

This is not for You, Thyssen-Bornemisza Art Contemporary, Vienna, Austria

Resonance, Frith Street Gallery, London, England

Concrete Language, Contemporary Art Gallery, Vancouver, Canada

I Walk the Lines, Galerie Barbara Thumm, Berlin, Germany

Summer Exhibition, Frith Street Gallery, London, England

Tina B, National Gallery, Prague, the Czech Republic

Speed, Galerie Barbara Thumm, Berlin, Germany


2005   Body: New Art from the UK, British Council touring exhibition

All the World's Fighter Planes, Artspace NZ, Newton, Auckland, New Zealand

Post No Bills, White Columns, New York, NY

Bonds of Love, John Connelly Presents, New York, NY

Horror, Science Fiction, Porn, Art Gallery of York University, Toronto, Canada

Critics Choice, FACT, Liverpool, England

Traces Everywhere, Tracy Williams Ltd., New York, NY

Romance, Cristina Guerra Contemporary Art, Lisbon, Portugal


2004   Voor ik vergeet, Museum Jan Cunen, Oss, Netherlands

Daddy Pop (The Search for Art Parents), Anne Faggionoato, London

Entropy: On the Vanishing Work, ar/ge Kunst Galerie Museum, Bolzano, Italy

Entropy: Sometimes Making Something Leads to Nothing, Museion, Bolzano, Italy


2003   Artlab Espcial, Mobile Home Gallery, London, England

ATTACK-Art and War in Times of Media, Kunstalle Wien, Vienna, Austria

Mars: Art and War, Museum Johannaeum, Graz, Austria

Independence, South London Gallery, London, England

Off, Murray Guy, New York, NY

The Sky's The Limit, Kunstverein Langenhagen, Germany

The Book Show, The Nunnery, London, England

Plunder: Culture as Material, Dundee Contemporary Arts, Scotland


2002   Nothing, Mead Gallery, Warwick Arts Centre, England

Inconoclash: Beyond the Image, Zentrum für Kunst und neue Medien, Karlsruhe, Germany

Viva la Republique! Paga Images of the Last Queen of the British Isles by her Indigenous Subjects, The Centre of Attention, London, England

Prophets of Boom, Sammlung Schürmann, Staatliches Kunsthalle, Baden-Baden, Germany

The Green Room, Percy Miller Gallery, London, England

Here, There and Elsewhere: Dialogues on Location and Mobility, London Print Studio Gallery, England

Remix: Contemporary Art and Pop, Tate Liverpool, England

Turner Prize exhibition, Tate Britain, London, England

Summer Exhibition, Frith Street Gallery, London, England


2001   City Racing, ICA, London, England

Featherweight, Susan Hobbs Gallery, Toronto, Canada

Superman in Bed: Contemporary Art and Photography, The Gaby and Wilhelm Schürmann Collection, Museum am Ostwald, Dortmund, Germany

Drawings, Frith Street Gallery, London, England

Definition, Murray Guy, New York, NY

Nothing: Exploring Invisibilities, Northern Gallery of Contemporary Art, Sunderland, England; Rooseum, Malmö, Sweden; CAC, Vilnius, Lithuania

Fiona Banner, Munro Galloway, Corey McCorkle, Murray Guy, New York, NY

Berlin Biennale, curated by Saskia Bos, Berlin, Germany

The Multiple Store, The New Art Centre Sculpture Park and Gallery, Roche Court, Wiltshire, England

Dévoler, Institut d'art contemporain, Villeurbanne, France

Tattoo Show, Modern Art, London, England

Total Object, Complete with Missing Parts, curated by Andrew Renton, Tramway 2, Glasgow, Scotland

American Tableaux, Walker Art Center, Minneapolis, MN

A Pause for Breath, Frith Street Gallery, London, England

CAB Gallery, curated by Paul Stolper and Jason Brown, London, England


2000   All You Need is Love, Laznia Center of Contemporary Art, Gdansk, Poland

Ever get the feeling you've been… Cheated, A22 Projects, London, England

Eine Munition unter Anderen, Frankfurter Kunstverein, Frankfurt, Germany

Customized: Hot Rods, Low Riders and American Car Culture, ICA Boston, MA

Summer Show, Frith Street Gallery, London, England

Murray Guy, New York, NY

The Living End, Boulder Museum of Contemporary Art, CO

To Infinity and Beyond: Editions for the Year 2000, Brooke Alexander, New York, NY


1999   Double Love, Art Centre Walsall, England

To Be Continued, The New Art Gallery, Walsall, England

Cinema, Cinema, Van Abbemuseum, Eindhoven, the Netherlands

Afterall Launch, The Wallace Collection, London, England

0 to 60 in 10 Years, Frith Street Gallery, London, England

From Memory, Platform, London, England

Story, AC Project Room, New York, NY

Babel, Ikon Gallery, Birmingham, England

True Stories, Barbara Gross Galerie, Munich, Germany

Let's get Lost, Saint Martin's School of Art, London, England

100 Drawings, PS1 New York, NY


1998   Dimensions Variable, Brittisk samtidskonst, Stockholm, Sweden

The Tarantino Syndrome, Künstlerhaus Bethanien, Berlin, Germany

Point Break, Project for Tate Magazine, commissioned by Tate Gallery, Liverpool, England

Super Freaks: Post Pop and the New Generation, Part 1, GreeneNaftali, New York, NY

Narrative Urge, Uppsala Konstmuseum, Uppsala, Sweden

Disrupting the Scene, Cambridge Dark Room, Cambridge, England

5th Avenue Project at Saks, New York, NY

In the Beginning, Murray Guy, New York, NY

Wrapped, Vestsjaellands Kunstmuseum, Vestsjaelland, Denmark

Slipstream, Centre for Contemporary Arts, Glasgow, Scotland


1997   Die Arbeit des Zeichnens, Gesellschaft für Aktuelle Kunst, Bremen, Germany

Urban Legends: London, Staatliche Kunsthalle Baden-Baden, Germany

Ground Control, Beaconsfield, London, England

Blueprint, De Appel, Amsterdam, the Netherlands

MUUten, Museum of Photography, Helsinki, Finland

Whisper & Streak, Galerie Barbara Thumm, Berlin, Germany

An Exhibition of Art from Britain, Museum of Contemporary Art, Sydney, Australia

Art Gallery of South Australia, Adelaide, Australia

City Gallery, Wellington, New Zealand

Need for Speed, Grazer Kunstverein, Graz, Austria

Oktober, Norwich Gallery, Norwich, England

20/20, Kingsgate Gallery, London, England

The Mule, National Newspaper published once on October 31, 1997 with internet access, UK

The Nam: 1000 page all text flick book, Galerie Barbara Thumm, Berlin, Germany

Gasser & Grunert, Cologne, Germany

Légende, Centre Regional D'Art Contemporain, Sčte, France


1996   MacDonald Stewart Art Center, Toronto, Canada

Moby Dick, John Hansard Gallery, Southampton, England

Spellbound: Art and Film, Hayward Gallery, London, England

into the void, Ikon Gallery, Birmingham, England

Mais do que ver, Moagens Harmonia, Festival of Contemporary Art, Oporto, Portugal

Young British Artists, Roslyn Oxley Gallery, Sydney, Australia

Found Footage, Klemems Gasser & Tanja Grunert, Cologne, Germany

Backpacker, The Chiang Mai Social Installation, 4th Festival of Art and Culture, Chiang Mai, Thailand


1995   Four Projects, Frith Street Gallery, London, England

SuperStore Boutique, Sarah Staton, San Francisco, CA

General Release: Young British Artists, Scuola di St. Pasquale, Venice Biennale, Italy

Moby Dick, Arsenali Medicei, Pisa, Italy                    

Perfect Speed, curated by Catsou Roberts, USF Contemporary Art Museum, Tampa, FL


1994   New Contemporaries, Camden Arts Centre, London, England and UK tour

Drawings, Laure Genillard Gallery, London, England

The Antidote, 191 Gallery, Hammersmith, London, England

The Event, 152c Brick Lane, London, England

SuperStore Boutique, Sarah Staton, London, England

Group Show, Laure Genillard Gallery, London, England

Institute of Cultural Anxiety, ICA London, England

Art Unlimited, Arts Council Collection, UK tour




2013    A Room for London, with David Kohn Architects. Artangel, Living Architecture and Southbank Centre, London

2010    The Duveen Galleries Commission, Tate Britain, London, England

2003    Full Stop Sculptures at More London, near Tower Bridge



2016    Diehl, Travis. "Fiona Banner, 1301PE." Artforum March 2016.

           Gvero, Virva. "Fiona Banner: Our Contemporary Heart of Darkness." Happening November 2016.
Louise, Dany. "A Q&A with Fiona Banner." AN Artists' Newsletter October 2016.


2015    Karmali, Sarah. "Women in Art." Harpers Bazaar November 2015.

Searle, Adrian. "Porn on the Fourth of July: Fiona Banner Rewrites the Art of War." The Guardian 13 October 2015.

Durrant, Nancy. "Fiona Banner: She Put a Plane in Tate Britain, Now She's Flying." The Times 12 October 2015.

Le Brun, Lily. "War and Words: Fiona Banner Mines Hollywood." Conflict and Language." Modern Painters October 2015.


2013    Pollack, David. "Art of Darkness." The List Issue 714 2013.


2014    Jones, Jonathan. "Chinooks away: Fiona Banner's terrifying homage to a helicopter." The Guardian 18 September 2014.

Soin, Himali Singh. "Wp Wp Wp." Artforum Fall 2014.

Coomer, Martin. "Mistah Kurtz - He Not Dead." Time Out June 2014.

2012   Wood, Michael. "Over the Edge: Michael Wood on Fiona Banner's Heart of Darkness." Artforum Summer 2012: 81-82.


2010   Barnett, Laura. "Fight and Flight." The Guardian 22 June 2010.

Bickers, Patricia. "Tooth and Claw." Art Monthly July 2010.

Buck, Louisa. "Text Messages." Art Quarterly Summer 2010.

Dye, Natalie. "A Way with Words." Kingston Review Spring/Summer 2010.

Herbert, Martin. "Fighting Talk." Tate Etc Magazine issue 19 Summer 2010.

Hickey, Dave. "Mother of Beauty." Tate Publishing 2010.

Muńoz-Alonso, Lorena. "Fiona Banner: Harrier and Jaguar." This is Tomorrow 10 August 2010.

Searle, Adrian. "Fiona Banner's Toys for Boys are a Turn-On at Tate Britain." The Guardian 28 June 2010.


2009   Banner, Fiona. "Art Stripped Bare – Fiona Banner on the Nude." The Guardian 8 April 2009.

Hutchinson, Jack. "Peep Show." Twin November 2009.


2008   Lack, Hannah. "Fiona Banner Delves into The Oxford English Dictionary." Another Magazine June 2008.

Lewis, Angharard. "Special Report." Grafik March 2008.


2007   Johnson, Ashley. "Fiona Banner, The Power Plant." Canadian Art Summer 2007: 90-91.

Rabinowitz, Cay Sophie. "Work-In-Progress." The Bastard Word: Fiona Banner. Toronto: The Power Plant, 2007.

Roberts, Rebecca. MoMA, Highlights since 1980: 250 Works from the Museum of Modern Art. New York: Museum of Modern Art, 2007.


2006   Coomer, Martin. "Fiona Banner." Time Out 24 May 2006: 41.

"Fiona Banner: NUDE/PARADE." Wallpaper May 2006.

"Five Best Exhibitions, Fiona Banner." The Independent June 2006.

Lack, Jessica. "Fiona Banner Preview." Guardian Guide April 2006.

Mendelsohn, Adam. "Fiona Banner." Time Out New York April 2006.

Princethal, Nancy. "The Body of the Text." Art in America no. 6 June-July 2006: 178-181.

Ribas, Joao. "The AI Interview: Fiona Banner." ARTINFO.COM, March 2006.

Smith, Roberta. "Fiona Banner – Nude." The New York Times 14 April 2006: E32.

Walsh, Maria. "Fiona Banner." Art Monthly June 2006.


2005   LaFuente, Pablo. "Portaiture Stripped Bare." Art Review April 2005.


2004   McKee, Francis. "Beyond Words." Parkett no. 6 2004.


2003   "Artnotes." Art Monthly November 2003: 10.

Gray, Emma and Pablo Lafuente. "You haven't taught until you see…" Art Review July-August 2003: 44, 51.


2002   Jansen, Gregor. "My Plinth is Your Lap, Ein Interview mit Fiona Banner anlässlicher ihrer Ausstellung in Aachen." Kunstbulletin April 2002.


2001   Herchenröder, Christian. "Mainstream und Monotonie." Handelsblatt 27 April 2001: G2.

Kazanjian, Dodie. "People are talking about – Art – The painted word – Fiona Banner's work takes up everything from pornography to punctuation." Vogue January 2001: 113.

Lledó, Elena. "Fiona Banner – Galerie Barbara Thumm." Lapiz 175 July 2001.

Searle, Adrian. "Empty Promise." The Guardian 24 April 2001: 12-13.


2000   Archer, Michael. "Fiona Banner – Frith Street Gallery." Artforum January 2000: 123-124.

Buck, Lousia. "And they don't use dead animals." The Observer 18 March 2000: 28-29.

"Culture shop." The Sunday Times Magazine 5 November 2000.

Exley, Roy. "Fiona Banner – Frith Street." Flash Art March-April 2000: 117.

Glover, Izi. "Fiona Banner – Frith Street." Time Out 5-12 January 2000: 49.

Greenstreet, Rosanna. "The Questionnaire – Fiona Banner." The Guardian Weekend 2 September 2000: 70.

Male, Andrew. "Do Look Back." Mojo January 2000: 16.

Princenthal, Nancy. "Prolix – Fiona Banner's word works." Art on Paper May/June 200: 40-45

Sheffield, Emily. "This Year's Most Wanted." Evening Standard, 10 January 2000.


1999   A., C. "Fiona Banner: Stop." Metro 18 November 1999: 21.

Banner, Fiona. "Precious Memories." The Guardian 4 December 1999: 5.

Buck, Louisa. "UK Artist Q&A – Fiona Banner." The Art Newspaper December 1999: 67.

Cruz, Juan. "Disrupting the Scene." Contemporary Visual Arts issue 21 1999: 76.

"Diary." Private Eye 23 July 1999: 24.

"Fiona Banner." The New Yorker 29 March 1999.

Humphrey, David. "New York E-mail." Art Issues no. 58 Summer 1999: 43.

Johnson, Ken. "Fiona Banner – Murray Guy." New York Times 26 March 1999.

Kino, Carol. "Fiona Banner at Murray Guy." Art in America November 1999: 142.

Maier, Anne. "Sophie Calle, Fiona Banner und Joseph Grigelyin der Galerie Gross." Schweizer Kunst-Bulletin November 1999: 39.

"Schriftbild." Konrad issue 12, December-January 1998-99.


1998   "Break Point." The Art Magazine issue 14 Spring 1998: 59-64.

Darwent, Charles. "These Little Dots have Lives of their Own." The Independent on Sunday 23 August 1998.

Ellis, Michael. "Fiona Banner – Tate Gallery." Art Monthly issue 220 October 1998: 30-32.

"Fiona Banner, The Nam." Tate News Winter 1997-98.

Guha, Tania. "Fiona Banner – Tate." Time Out 16-23 September 1998.

Müller, Ulrich. "Wortlandschaften, Text ohne Inhalt: Fiona Banner in der Galerie Barbara Thumm." Zitty Kunst 56 Septermber 1998.

Nilsson, John Peter. "Uppsala Art Museum." Art Press April-May 1998: 58-59.

Shave, Stuart. "Word for Word." I-D, The Adult Issue September 1998: 92.

Staple, Polly. "Fiona Banner Talks to Polly Staple." UNTITLED no. 17 Autumn 1998: 4-6.

Usherwood, Paul. "Martin – Waygood Gallery." Art Monthly issue 216 May 1998: 34-35.

"Words of Art." Times Metro 29 August-4 September 1998.


1997   Bury, Steven. "The Nam." Art Monthly June 1997: 46.

Collings, Matthew. "JUST A GLIMPSE of Meaning?" Modern Painters Summer 1997: 69-71.

Coomer, Martin. "Close Encounters." Time Out 28 May 1997: 47.

Cruz, Juan. "Fiona Banner and Bridget Smith." Art Monthly June 1997: 30-31.

Feaver, William. "Are you going to take this sitting down?" The Observer 18 May 1997.

Searle, Adrian. "Me, me, me, me." The Guardian 22 April 1997.


1996   Banner, Fiona. "A Brush with Genius." The Guardian 27 May 1996.

Barrett, David. "Profile – Close Up." Art Monthly no. 194 March 1996: 20-21.

Feaver, William. "Primal Screen." The Observer 25 February 1996.

Kent, Sarah. "Reel to Real?" Time Out 28 February 1996.

Mars-Jones, Adam. "Affairs of the Art." The Independent 27 February 1996.

Sladen, Mark. "Moby Dick." Art Monthly no. 193 29 February 1996.

Wilson, Andrew. "Spatialised Time, Unchecked Duration: Film and Video work by Contemporary British Artists." Art & Design Magazine no. 49 1996: 85-92.


1994   Dannatt, Adrian. "Exposure." The Sunday Times Magazine 5 June 1994.




2016   Font book. London: The Vanity Press, Bywater Bros Editions and Presentation House Gallery, 2016.

2015   Scroll Down and Keep Scrolling. London: The Vanity Press, Ikon, Birmingham and Kunsthalle Nuremberg, 2015.  
Heart of Darkness. London: The Vanity Press and Four Corners, 2015.

2014   Wp Wp Wp. London: The Vanity Press and Yorkshire Sculpture Park, 2014. 

2013   The Vanity Press. London: The Vanity Press and Summerhall, 2013 Edinburgh Arts Festival.
Untitled (September magazine). London: The Vanity Press and Amsterdam: Roma Publications, 2013.

2012   No Image Available. London: The Vanity Press, 2012.

2011   Delahunty, Gavin and Christoph Benjamin Schulz. Alice in Wonderland, Through the Visual Arts. Tate Publishing, 2011.
Snoopy Vs The Red Baron. Joanna Pocock Galerie, Barbara Thumm, 2011.
Dworkin, Craig and Kenneth Goldsmith. Against Expression, An Anthology of Conceptual Writing. Northwestern University Press, Illinois, 2011.

2010   Carey-Thomas, Lizzie and Dave Hickey. Duveens Commission 2010: Harrier and Jaguar. Tate Publishing, 2010.
ISBN 978-1-907118-95-1. London: The Vanity Press, 2010.
To Venus in Five Seconds. The Vanity Press, 2010.

2009   Performance Nude. Other Criteria, 2009.

2007   The Bastard Word. London: The Vanity Press, The Power Plant Contemporary Art Gallery, 2007.

2006   All the world's a fighter planes 2006. London: The Vanity Press, 2006.

2005   Bonds of Love. Lisa Kirk Projects, 2005.
Body: New Art from the UK. Vancouver Art Gallery & The British Council, pp. 18-19, 2005.

2004   All the world's a fighter planes 2004. London: The Vanity Press, 2004.
More London, Sculpture. More London Development Ltd, published to accompany the More London Sculpture Project, 2004.
Daddy Pop. Anne Faggionato, published to accompany the exhibition from March 24 to May 7, 2004.

2001   Carpenter, Ele and Graham Gussin. Nothing: Exploring Invisibilities. Sunderland: August and Northern Gallery, 2001.


2000   Donnelly, Nora. "Freedom, Style, Sex, Power and Motion – the Cult of Cars." Customized: Art Inspired by Hot Rods, Low Riders, and American Car Culture. Boston: Institute of Contemporary Art, and New York: Harry N. Abrams, 2000.


1999   Babel –  Contemporary Art and the Journeys of Communication. Birmingham: Ikon Gallery, 1999.

Banner, Fiona. 36 Full Stops. London: Imprint 93, 1999.

Bloemheuvel, Marente and Jaap Guldemond. Cinéma cinema. Eindhoven: Stedelijk Van Abbemuseum, 1999.

Gooding, Mel. Contemporary Art at Penguin. London: Penguin, 1999.

Ruf, Beatrix. Art at Ringier 1995-1998. Zurich: Ringier AG, 1999.

Stallabrass, Julian. High Art Lite. London: Verso, 1999.

Woods, Alan. "The Present Sure is Tense." Transcript vol. 3 issue 3. Dundee: Jordanstone College of Art, 1999.


1998   Abildgaard, Dorthe, Thorbjřrn Bechmann, and Nikolaj Recke. Wrapped. Vestsjaelland: Vestsjaellands Kunstmuseum, 1998.

Art Now – 15 Fiona Banner. London: Tate, 1998.

Dinaburg, Mary. London Now, Saks Fifth Avenue Project Art. New York: Saks Fifth Avenue, 1998.

Esche, Charles and Mark Lewis. A Journal of Art, Context and Enquiry AFTERALL. London: Central Saint Martins College of Art & Design, 1998. 74-84.


1997   Banner, Fiona. THE NAM. London: Frith Street Books, 1997.

Dimensions Variable - New Works for the British Council Collection. Manchester: The British Council, 1997.

Donkis, Leonidas, Susan Buck Morss, and Julian Stallabrass. Ground control, Technology and Utopia. London: Black Dog, 1997. 190.

Pictura Britannica - Art from Britain. Sydney: Museum of Contemporary Art, 1997.

Poetter, Jochen. Fiona Banner. Baden-Baden: Staatliche Kunsthalle Baden-Baden, 1997.

1996  Kearton, Nicola. Art and Design. Weinheim: Vch Verlagsgesellschaft Mbh, 1996. 88.

Roberts, Catsou and Jean-Christophe Royoux. Perfect Speed – Six British Artists. Ontario: Macdonald Stewart Art Centre and Tampa: University of South Florida Contemporary Art Museum, 1996.

Williams, Linda R. Spellbound: Art & Film. London: Hayward Gallery, 1996.


1995   Moby Dick. Southampton: John Hansard Gallery of Southampton, 1995.

Young British Artists at Scuola di San Pasquale, Venice, 1995. Manchester: The British Council, 1995.




Contemporary Art at Penguin, London

Contemporary Arts Society, London

Financial Service Authority, London

Metropolitan Museum of Art, New York

Museum of Modern Art, New York

National Gallery of Canada, Ottawa

Neuberger & Berman, New York

Philadelphia Museum, PA

Sammlung Ringier, Zurich

Thyssen-Bornemisza Art Foundation

The Arts Council of England

The British Council, London

Tate Gallery, London

Van Abbe Museum, Eindhoven

Walker Art Gallery, Minneapolis, MN

Worcester Museum, MA

Fiona Banner: fight and flight

Laura Barnett, Monday 21 June 2010

She has filmed a helicopter ballet, melted a jet – and caused a storm by transcribing a porn epic. Will Fiona Banner's latest work go further?

Rising up through the middle of Fiona Banner's two-storey studio is the upturned wing of a Tornado fighter plane. From the first floor, you can see its tip, slicing ominously through the floorboards like an oversized shark fin. If you lean in close, you can make out hundreds of words etched like hieroglyphics into the wing's smooth metal: "arse", "shadow", "light behind stark against dark skin".

This is Tornado Nude, a work Banner made four years ago: a female life model stood naked in front of her while she painted a description on to the wing of a decommissioned jet. "The Tornado," Banner tells me as she shows me around this high-ceilinged east London space, in which her many works are propped against walls and arranged neatly on tables (a plant sits on a sun-terrace in an old aircraft propeller), "is a really, really important and very vicious airplane. And then I engraved this very delicate and traditional life drawing on to it, in words, and now that's become part of it. It's become this totem, this sculpture – possibly an object you might even worship."

Object of veneration or not, Tornado Nude embodies the preoccupations for which Banner is best known: sex, nudity and war. She has, variously, created a catalogue of every fighter plane currently in use by the British military; published a 1,000-page book containing frame-by-frame descriptions of Vietnam war movies (she calls these "wordscapes" or "still films"); and written a "striptease in words" of the actor Samantha Morton's naked body. In 2002, Banner was nominated for the Turner prize. Her exhibition for the nominees' show included Arsewoman in Wonderland, a no-holds-barred description in words of a porn film of the same name, screenprinted in pink ink on a white billboard and duly displayed at Tate Britain. There was a predictable flurry of outrage; the then culture minister Kim Howells, commenting on the exhibition as a whole, scrawled "conceptual bullshit" across a Tate comment card and pinned it to the visitors' wall.

Undeterred, Banner is returning to Tate Britain next week, where she will unveil a new work commissioned for the museum's two central neoclassical Duveen galleries. Previous artists who have stepped up to this challenge include Martin Creed, who in 2008 sent a series of runners sprinting through the crowds at 30-second intervals; and Anya Gallaccio, who in 2002 filled one gallery with oak trees, and the other with a carpet of sugar. Banner is not allowed to tell me what she'll be doing – all will be revealed next Monday – and can only point to her official statement, that she is looking forward to "working with the phallic pillars of this extraordinary grandiose space". But she can tell me what she won't be doing, which is "exhibit[ing] an entire Westland Lynx helicopter that saw service in the Falkands war", as her Wikipedia entry erroneously had it (it has since been corrected). "That's so weird!" she says in a stage whisper, blue eyes widening. "That's not my plan – though I did recently try to buy a Westland Lynx helicopter. But I bought a Tornado instead."

In person, Banner is not at all what you might expect of a sometime porn consumer, war-film aficionado and collector of military aircraft: dressed all in blue – blue shirt, blue jeans, blue jacket – she is wiry and casually elegant, with a direct, easy charm. Her work, too, is quieter, more delicate, intimate and many-layered, than its headline-grabbing subject matter might suggest.

On the ground floor of her studio, Banner shows me All the World's Fighter Planes, a work that was 10 years in the making, and which she completed last year. It's a glass case filled with pictures of aircraft cut haphazardly from newspapers, each one meticulously labelled like an animal specimen: Hawk, Harrier, Bear, Chinook. "I started making this years ago," she says. "I'd been cutting out pictures of fighter planes from newspapers for a while, and realised I'd started a collection. I became strangely excited by the idea that they all had these names from nature. On one level I find these planes incredibly beautiful, but on another level I'm horrified by them."

The ungainly Chinook (in nature, either a kind of wind or a Native American people) is a particular favourite. Banner has spent the last few months at airshows at RAF Odiham in Hampshire, filming pilots perform an unlikely "Chinook ballet" for a new work. "The Chinook is really bizarre," she says. "It's so inelegant, it looks like it shouldn't be able to fly. In the ballet, they've given the Chinooks certain movements – a turn, a sidestep, a double-twist. It's the most extraordinary thing."

From Rilke to Top Gun

Banner's fascination with aircraft may, she says, springs from the long walks she took as a child in the Welsh countryside with her father (she was born in Merseyside in 1966, later moving to London to study at Kingston University and Goldsmiths). "It was completely sublime and pastoral and beautiful," she says. "And then something like a Tornado would come out of nowhere, and the sound would be absolutely phenomenal. We'd be completely astounded, but somehow the beauty of the moment would surpass even the loveliness of where we were and what we were doing."

For one new work, called Tornado, Banner is taking this interest in aircraft even further: she is smelting down her newly acquired Tornado plane into aluminium ingots, and turning those into a huge bell that she plans to display later this summer, in Newcastle. She shows me her carefully shaded drawings for the bell, pinned to a wall. "From the outside," she says, "a bell is a clear object of communication. But in this case, coming from an aeroplane, it has quite a complex DNA."

Banner says that her work progresses more by accident than by design, although she clearly works hard, spending long days alone in her studio with her dog, Olive (a mongrel or "Hackney orgy dog" who recently took a tumble through the hole in the floorboards around Tornado Nude). She never made a conscious decision to be an artist; as a teenager, she read Robert Lowell, Emily Dickinson and Rilke, and dreamed of being a poet or a novelist. At art college, her fascination with words resurfaced, and she found herself writing the first of her wordscape descriptions, of the film Top Gun. "I struggled away with making pictures for years and years," Banner says, "and I found it incredibly complicated. The writing just started to come to the fore as a way through it." She remains obsessed with books – she had her own ISBN code tattooed on to her lower back last year, and runs a publishing imprint, Vanity Press – but her interest is more formal than literary. "I'm as interested in the object of a book as much as the content," she says.

Banner's preoccupation with traditionally masculine subject matter – war films, flying machines, the female nude – raises an obvious question: does she consider herself a feminist? "No," she replies, quickly and emphatically. "No. It's not that I'm radically unfeminist or anything" – she gives an awkward laugh – "it's because I think feminism belonged to a particular point and time. And I can't afford to be part of any 'ism' as an artist. That sounds lofty and possibly a bit pompous, but I just don't impose my political agenda on my work. I'm incredibly lucky to be at this point in history, where female artists are given space and visibility."

What about when that visibility leads to controversy, as happened with Arsewoman in Wonderland? Banner rolls her eyes. "That was one piece! And they're still calling me 'the porn artist'! I just think that sort of kneejerk, oo-er missus reaction is not helpful, really. Because art is layered and complex and requires reflection. And because I never set out to be controversial. On the whole, I actually make very quiet work."

She says she is not afraid of failure; in fact it is something she expects, even embraces. "I find art incredibly difficult," she says. "Most of the things that happen in here, in this studio, they're an investigation. An experiment. I'm with [Samuel] Beckett: 'Fail again. Fail better.'" And when success, in the form of a high-profile commission such as the Duveens, comes her way – what does that mean? She hesitates. "I want to say that it doesn't mean anything. It depends on whether what you do with it will still mean something to you in years to come. And whether it will still mean something to the people that come and see it." © Guardian News and Media Limited 2011

Art stripped bare - Fiona Banner on the nude

The Guardian, Wednesday 8 April 2009

Describing the naked human form is a way of describing ourselves, an attempt to seize what we can't hold

Fiona Banner with life model

'It's dead serious, but tongue-in-cheek as well' ... Fiona Banner with life model. Photograph: Fiona Banner

I don't see myself as working in the grand history of the nude in art: my work isn't at all similar to Lucian Freud's, for example. But the complexity that surrounds the nude - the questions about gender that define the history of the nude, and for that matter the history of description per se - are a motivation.

I got involved in looking at and describing the human form through watching war films. It occurred to me, after a while, that their images were pornographic in nature - both alluring, seductive and repulsive. That got me into looking at porn films. I began to think that they were like life drawings, only with all the rules broken. They have very limited narrative: often no script, virtually no dialogue, just the hovering gaze. I described these films moment by moment, in my own words, and made very big pictures from them. They take something very private and domestic, and make it heroic. After that, I worked with a striptease artist. She came to my studio and undressed, and I began describing her act verbally. It became a kind of striptease in words.

I generally never use life models - I usually work with people I know. We need a good rapport, especially for the performances I do, in which I stage a bare classical studio set-up with an easel, but then describe the nude model in front of a live audience. It's a bit of theatre. It's dead serious, but tongue-in-cheek as well. The performances are really taut, tense but oddly funny, for the audience as well as for me and the model.

Homus Erectus 2006 by Fiona Banner
Homus Erectus 2006 by Fiona Banner. Photograph: Fiona Banner

The artwork itself has become vulnerable, because the mechanisms around it have been stripped back, exposed. The performances expose these layers of voyeurism - my voyeurism looking at the model, and the audience's voyeurism looking at me making the art, and looking at the model. But then the very way we look at all art, the way we treat artworks, the way we present them, is itself erotic. There is always that voyeuristic distance and rarification. Nudity is oddly taboo, even though, or perhaps because, we come into the world naked, and it's how we leave.

The first time you walk into a life-drawing class as a student, there's a frisson of excitement about how to formalise a moment that would normally be very intimate and very erotic. So what happens on paper in that class - the drawing or painting of the nude model - becomes an erotic act. It can also be brutal. In terms of a narrative structure, the nude is both protagonist and reader, or the subject and viewer in one. There's no narrative embellishment, just the bare standing figure; no before or after.

We always come back to the issue of describing the human form. It's a way of describing ourselves - an attempt to stall time long enough to make some kind of reflection, not of the stuff around, but of us, the flesh. Every life drawing, good or bad, is like a gravestone, an attempt to make permanent that which is always passing, an attempt to seize what we can't hold.

Interview with Fiona Banner
Joao Ribas

Published: March 28, 2006

British artist Fiona Banner explores the limits and possibilities of language in text-based drawings, sculptures and installations. Best known for her laborious, handwritten descriptions of war films and epics such as Lawrence of Arabia, Banner has also used the art-historical genre of the nude to explore issues of violence, vulnerability and voyeurism; and has used sculptures of punctuation to investigate breakdowns and gaps in communication.

For her current solo show at New York's Tracy Williams Ltd., on view through April 22, Banner is showing a new series of nudes: text-based descriptions of the female form, made from live models and written on the tail-fins of fighter planes.

A related installation, Parade, will also be on view at 462 Greenwich St., further focusing on her fascination with the "aesthetics of destruction." Described as an "unedited war-scape," Parade collects Banner's hand-made examples of every fighter jet currently in commission somewhere in the world, with more than 100 models suspended from the ceiling. Parade is on view through March 31.

Banner has exhibited worldwide and is represented in various collections, including that of the Museum of Modern Art in New York; the Tate Gallery in London; and the Walker Art Gallery in Minneapolis. She was short-listed for the Turner Prize in 2003.

What draws you to working so intensely with language, as in your 'still-films'-these blow-by-blow descriptions of war movies such as The Nam, a 1,000-page book describing films such as Apocalypse Now and The Deer Hunter?

With all of the subjects I work with, there is this fascination with the image-I was fascinated by those 'Nam films, and really seduced by them. But I was also really repulsed by them. I thought, "Am I repulsed by the film, or am I repulsed by the way I was involved in the film, the way I became fascinated by it?"

Using language is a way of stepping back from that, and stepping back from how the image works on us, yet at the same time still having the image there. It's a way of being able to work with images without drowning in the deeply complex currency of those images. Hopefully, what's gained in the process is an original moment of looking at something, or being able to look at something in a different way by side-stepping the image.

How did the "still-films" begin?

Originally, I was making lots of images of fighter planes, using the film Top Gun as a reference for all of these things you don't really see in normal life. But I started to find it incredibly hard to draw a frame around the objects, deciding what should be in the frame and what should be out of it. That led to the desire to make this all-encompassing image, this image that negates the need for me to make such decisions. That's why I describe those films, rather pompously, as being completely unedited texts-and being very much about the pornography of those films.

Why do you choose to work with particularly violent or pornographic films?

Why are so many people seduced by images of war, even though we hate war? Or do we? It's those complex [questions] that I am fascinated by, in myself and in other people. Questions like "Why do we love these great, epic, violent, pornographic, killing films? Why are they our entertainment?" The pastoral-I don't find so complex, so I don't need to try to work that out. But the nude and the violence of how the nude as portrayed in the history of art for example-that I'm really fascinated by.

Let's talk about your nudes. They work in this hyper-intimate way, in describing someone's body in language, in a genre typically associated with the gaze of male painters...

Using words as opposed to line and color is a way of being able, on my own personal turf, to reinvent the nude. The writing is a sleight of hand, it's a way to sneak around the side and look at something that I'm fascinated by.

Do you work from a live model?

I more often than not work from a model, often the same model as it happens, and I work in the way that I might have done when I was in my first year in art college. You know she'll get her kit off, and I'll get out a bit of paper, and we'll have a good go. And it'll be frustrating at times, but [in using language] I'm not thwarted by the clumsiness of working with materials-I personally have much more dexterity with language. It's natural to me.

But it must be an intrusive experience for the model?

It is for both of us, really. I suppose [the nudes] are all self-portraits anyway, in some sense. But somebody getting naked in front of you is as much a responsibility for the person who is being a voyeur as it is for the person who is supplying the subject. It does set up a tense and interesting scenario.

Your new nudes are on these almost anatomical parts of fighter jets. They seem to merge that voyeurism of the nudes with your fascination with war imagery.

The layers of voyeurism in the nude are echoed in the way we look at war and deal with images of war. When I first started making those pieces, I wanted to get hold of some of these [fighter jet tailfins] just because I wanted to see what it was like to have them. It took me an awful long time to be able to get hold of any of these objects, because, importantly for me, they still have a currency.

I ended up having to accrue a little dossier of letters from the Ministry of Defense saying, "I know she looks like a terrorist, but..." Penetrating this incredibly male military world was also quite weird. I hadn't anticipated that there would be this very strange reaction to some bird coming in and going, "How much?"

I suppose there's something [in the nudes on the tail-fins of Harrier Jets] about the vulnerability and fragility that one feels up against this kind of military gear and how it operates in the world. It's the ultimate hardness-in absolute contradiction to our ultimate softness. I'm also very interested in that idea of this military hardware being the new nature. For example, take the nicknames [for the jets], which I've been collecting alongside the images of them: They refer to all-powerful nature: Cheetahs, tornados, etc. And of course, these things are often called birds in movies.

That brings us back to the films: You deliberately pick films that are almost impossible to capture in words, because they're so expansive in their scope...

Lawrence of Arabia is a film that defines the notion of epic, spatially and historically. I was interested in the idea of being able to contain that kind of epic notion, to make language wrap around that and somehow stretch towards it. It's the same thing that really fascinates me about painting: the heroic frame. The fact that [a painting] can contain all this [visual information] that the eye cannot see all at once. There's this slightly absurd and wry reference to that in my work.

Even just the extent of the writing, the fact of tracing the duration of time, has this defunct heroism to it. With the still-films, there was an attempt to describe this entire event or this entire image, whereas my newer work is more "live," if you like, because the descriptions are more unmediated.

I'm also equally fascinated by what language can and can't do. A lot of my work is about how we communicate and how we don't. Of all of my work, the full-stop series [life-size sculptures based on periods from different font types] is most overtly and absurdly about a breakdown in language, which most of us experience at various times.

When I started making those sculptures, I was experiencing a complete disenfranchisement from the way I make work. My thought was how I could make something to represent this dumbness-dumbness in terms of stupidity, but also in the inability to communicate, and this gap of how to proceed from that.

The full-stop sculptures are sort of the reverse of your films. They turn text into an object, rather than the other way around...

They're like the text work turned inside out. I started by making drawings of full-stops, which I though of as completely edited texts-these sort of black voids. But I realized that all these full-stops are different forms. It was interesting how this void that is just about a pause [on a page] actually has a whole character.

So I worked directly from various fonts and was very rigorous about them and made three-dimensional versions of these two-dimensional tiny things. Something inconspicuous became an object you had to negotiate in space. We become like the characters in the narrative of these things; they are literally punctuation that we move around-which is obviously a reference to sculpture and how it operates, but in a very simple, stripped back way.

Tell me about the models of all the world's fighter planes in Parade?

That started with a collection of images from newspapers of the fighter planes of the world for my studio reference. It was important that they were collected from the real world-from how these images come into my own personal world through newspapers. From that I ended up making a focused collection of one of every single type of fighter plane currently in commission around the world. Parade I see very much as like the big description I made of Apocalypse Now, this massive handwritten text, in that it's a completely unedited war-scape.

There's a certain ludicrousness to the way I've become completely involved in what it takes to make those models. And of course in making them I'm referring to the millions of little boys every year who do the same thing. There's this getting into the psychology of people who get seduced by that-and I suppose ultimately it's about the aesthetics of destruction.

SUMMER 2013, 2013
Sunburnt paper
Published by The Vanity Press, 2013
101 x 72 cm

Please Help Yourself, 2013
Exhibition catalogue, Perspex bin
Dimensions variable

Jane's, 2013
High definition digital film projection
11.42 minutes

Chinook, 2013
16mm film transferrred to high definition digital film projection
10.14 minutes

The Vanity Press, 2013
One off publication,
ISBN 978-1-907631-21-4
Neon bent by artist, paper template, wire, transformer, Perspex frame
45.7 x 171.2 x 15.5 cm

Ampersand, 2013
Ampersand designed by Lawrence Weiner, modelled in neon by Fiona Banner
Neon, paper template, wire, transformer, Perspex frame
115.5 x 85 x 17.7cm

Prototype, 2013
Mixed media
44 x 63 cm

Forger, 2013
Neon bent by the artist, wire, paper template, transformer
100 x 70 x 7cm

Copyright, 2012
Screenprint on various media
Dimensions variable

1066, 2012
Wall projection
Dimensions variable
Installation at Turner Contemporary

Dear Contributor, 2012
Screen-print on silver coated aluminium
65 x 98 cm
'Back to the: Music,' 2012
Screen-print and paint on fluorescent paper
60 x 76 cm

Shield, 2012
Unique screenprint on aluminium from Jaguar Airplane
92 x 78 x 10 cm

'The Complete Text of Snoopy's Novel:
Filed Under Greatness (2) Reading (7)
,' 2012
Screen-print on bronze mirror
65 x 110 x 0.5 cm
'Snoopy Vs The Red Baron', 2012
Household paint on hoarding
1049 x 326 cm
'The Greatest Film Never Made', 2012
Fiona Banner and Fraser Muggeridge
Graphite on paper
139.5 x 200 cm
Heart of Darkness, 2012
Indian ink on wall
Dimensions variable
Intermission, 1992-2012
Silver gelatin photograph
124.5 x 171 cm

Unboxing, 2012
Bronze, parachute cord and wooden box

Dumb Bells, 2012
Bronze and wooden box
2 x 7.5k
Harriet and Jaguar Ingots, 2012
Metal from BAe Sea Harrier aircraft, ZE695 and Sepecat Jaguar aircraft, XZ118
1005 kilos
The Complete Text of Snoopy's Novel:
Filed Under Greatness (2) Reading (7)
, 2011
Indian ink on fluorescent paper
76 x 102 cm
Beagle Punctuation, 2011
Neon bent by artist, perspex frame, wire, transformer
53 x 73 x 14 cm
Spell 3, 2002
Unbroken sign, reconstructed neon sign, wire, transformer
90 x 56 cm
Spell 4, 2002
Unbroken sign, reconstructed neon sign, wire, transformer

Comma, 2006
Another Magazine, neon bent by the artist, wire, transformer
36.7 x 24.5 x 8 cm

Fugue, 2011
Collage on paper
165 x 40 cm
Snoopy Vs The Red Baron, 2011
2 Silver gelatin photographs, frame
29 x 36 cm
Nude Wing, 2011
Polished Tornado airplane wing. Canvas, acrylic
230 x 590 x 28 cm
Life Drawing Drawings, 2007-2011
Mixed media drawings on paper, dummy books
Dimensions variable
Ingot, 2010
Aluminum overrun from Tornado Fighter ZE728
6 x 22 x 6 cm
Tornado, 2010
Aluminium from Tornado Fighter ZE728, rope, steel fixings
158.5 x 158.5 cm
1066, 2010
Indian ink on wall
2150 x 400 cm
1909-2011, 2010
97 Jane's All the World's Aircraft books
22 x 35 x 375 cm
Bollocks and Sperm, 2010
Nose art on Jaguar XZ118 during Operation Desert Storm, 1991
2 framed silver gelatin photographs
40 x 50 cm
Harrier and Jaguar, 2010
Harrier, 2010, BAe Sea Harrier aircraft, paint
7.6 m x 14.2 m x 3.71 m
Jaguar, 2010, polished Sepecat Jaguar aircraft
8.69 x 4.92 x 16.83 m
Black Hawk Down, 2010
Indian ink on wall
1300 x 600 cm
All The World's Fighter Planes, 1999 - 2009
Found newspaper clippings, vitrine
299.7 x 87 x 86.3 cm
The Bastard Word, 2006-07
26 drawings, graphite on paper
70 x 100 cm each
The Bastard Punctuation, 2006-07
12 drawings, graphite on paper
70 x 100 cm each
Nude Standing, 2006
Mixed media on paper, aluminium frame, wire
164 x 272 x 8 cm
Tornado Nude, 2006
Tornado airplane wing, paint
230 x 590 x 28 cm
Parade, 2006
177 kit model planes, nylon wire
Dimensions variable
Full Stops, 2005
Bronze and car paint
War Porn, 2004
Pencil on paper and aluminium frame
247 x 163 cm
Evaporated Page, 2010
Ink on plastic coated aluminium
39 x 25 cm
Black Alphabet, 2009
26 overprinted photocopied pages
29.7 x 42 cm
Striptease, 2009
Ink on story-board paper,
29 x 41.4 cm
Portrait of an Alphabet, 2009
Photobooth photographs
4 x 142 cm
Summer 2009, 2009
Sun Burnt Paper
55.7 x 32 cm
Sleep, 2009
Hand engraved stone
53 x 72 x 7.5 cm
Mother, 2009
Reconstructed typewriter
33 x 15 x 30 cm
Anatomy of a Book, 2009
Letraset on bound book, 90 pages
21.6 x 30.2 x 1.5 cm
Evaporated Book, 2008
Etching on paper
30 x 36 cm
Anatomy Of A Page, 2008
Pen on print
46 x 30.6 cm
Neon Nudes, 2008
Neon bent by artist, paper template, perspex frame
76 x 54 x 9 cm
Aardvark, 2007
Neon bent by artist and paper template
114 x 84 cm
Performance Nude, Toronto, 2007
Indian ink on wall
130 x 210 cm
Nude Beam, 2007
Indian ink on wall
670 x 769 cm
Almost Fluoroscent Nude, 2007
Indian ink on wall
134 x 209 cm
Every Word Unmade, 2007
26 neon parts bent by the artist, paper templates, clamps, wire, and transformers
70 x 100 cm each
Bones, 2007
10 neon parts bent by the artist, paper templates, clamps, wire, and transformers
70 x 100 cm each
Shy Nude or Magnolia Nude, 2006
Mixed media on paper, wood and aluminium frame
96 x 144 cm
Bird, 2006
Jaguar tail fin, paint
228 x 224 x 16 cm
Doors, 2006
Mixed media, door blanks
199 x 77 x 3 cm each
Homus Erectus, 2006
Mixed media on paper, aluminium frame
93 x 145 x 4 cm
Provost Nude, 2006
Paint, airplane metal, letterset
46 x 46 x 10 cm
MOMA Nude, 2006
Graphite and spray paint on paper
226 x 176 cm
A-Z (Index), 2006
26 drawings, graphite on paper, aluminium frames
Dimensions variable
Black Hawk Down, 2004
Pencil on paper, aluminium frame
100 x 170 cm
Small Nudes, 2005-07
Ink on canvas, vinyl on wall
Black Bunting, 2001
dimensions variable
Arsewoman in Wonderland, 2001
Screen print on paper
420 x 610 cm
Full Stops, 1998
Car Chases (Bullitt), 1998
Screen print
The Works, 1997
Screen printed box, pyrotechnic components, fuse, framed inkjet print
Apocalypse Now, 1997
Pencil on paper
274 x 650 cm
The Desert, 1994
Screen print on paper
518 x 229 cm
Top Gun, 1994
Pencil on Paper
457.2 x 213.4 cm
Neon Full Stop, 1997
Neon, wire, transformer, wooden box
Dimensions variable