Presenting initially as ‘abstracts’ rendered in a restrained palette of secondary colours, the works in the portfolio are revealed as a series of repeated photographic images of crashed white transit vans – a recurring theme for Turk since 2010.   White Van Man has become part of contemporary folklore: a white male in a battered Ford Transit who delivers goods and services in a post high street Britain where global logistics have become intertwined with his paranoid fear of being taken advantage of by bureaucrats and by migrating foreigners.  Originally manufactured on the first factory production line by Ford in the USA, the Transit van, with its signature style logo badge, is a mass-produced branded product adopted by the UK as its own. Offering a host of cultural references for the viewer, a link can be made with Warhol’s ‘factory’, the studio scene that pumped out authentic reproductions of celebrity and consumer culture. Warhol’s art, created using yesterday's news and popular culture, has now become the industry standard for ‘safe’ modern art investments.