Overview (old)

"For each piece, Hornby coerces unwitting sculptures to cohabit a single space: a portrait from the V&A, a Henry Moore figure, Elizabeth Frink’s Riding Man. Virtualised on a computer, Hornby superimposes these three- dimensional forms, then cuts them by machine and finally casts a single object. Each finished sculpture is derived from the physical intersections of such overlapping source material. So, as the viewer circulates the object, recognisable fragments snap into view before dissolving back into abstraction. It is as if the artist gives us a puzzle: we are left to dissect an amalgam of sources, processes and constructions, piled around an imaginary meeting point."

Zygotes and Confessions is an ongoing series of works initiated in 2020.  It comprises photo-sculputral hybrids. 

"IN HIS FIRST MAJOR INSTITUTIONAL EXHIBITION, NICK HORNBY TAKES ON QUEER IDENTITY AND SCREEN-BASED INTIMACY WITH A SERIES OF RADICAL PHOTO-SCULPTURAL FORMS."

Hornby brings high-tech processes to figuration, pulling historical, material forms into the era of screen culture. His works defy conventional distinctions of form and media and  exhibit instead what Hornby terms ‘meta-cubism.’ In this pluralistic approach to perception neither image nor form takes centre stage. The sculptures are produced using digital and industrial processes, but retain the artist’s touch through their final process whereby a liquified image is applied to each work.

An ongoing series of works which progress his enquiry into citation and abstraction.

"As the five-century arc of its title would suggest, Nick Hornby’s exhibition at Churner and Churner, ‘Sculpture, 1504–2013,’ made no bones about its ambition, even by means of a few, discreet works.[...]This recent body of work seems more predominantly concerned with a rigorous approach to subtractive form, and a play between corporeal figuration and geometric abstraction. The results so far have been outstanding." 

– Ara H. Merjian, Frieze Magazine issue 162 April 2014