Ken Turner, who recently celebrated his 100th birthday, remains an active and influential figure in the world of performance and visual art. Often regarded as one of the oldest living performance artists, Turner has built a career defined by experimentation, social engagement, and a relentless challenge to artistic conventions.

Turner’s artistic journey began in the mid-20th century, shaped by experiences ranging from his early service in the Royal Engineers during World War II to his subsequent rejection of traditional art education and the commercial gallery system. Despite turning down formal opportunities at prestigious institutions such as the Slade School of Fine Art and Regent Street Polytechnic, Turner forged a distinctive path. Known for his refusal to conform—rejecting examiner demands to paint in an impressionist style and declining gallery shows in London’s West End—he has consistently prioritized artistic independence over mainstream acceptance.

In the late 1960s, inspired by the radical theatre director Joan Littlewood, Turner co-founded the Action Space collective. This group focused on bringing art out of galleries and into public arenas, particularly targeting disadvantaged urban communities. Their work included large inflatable sculptures designed for interaction and immersive experiences long before such art gained widespread popularity. The collective combined multiple disciplines—light, sound, movement, and drama—to involve audiences directly in creative expression, emphasizing art’s role in education and social justice. Action Space endures today as a charity supporting learning-disabled artists, including Turner prize laureate Nnena Kalu.

Performance art has also been a significant element of Turner’s practice. Most recently, in 2025, he famously drove a 15-tonne tank over a Tesla electric car in a live performance aiming to critique corporate greed and the resurgence of authoritarian ideologies. Turner has described no separation between painting and performance, considering both as interlinked forms of creative expression.

Since relocating to Cornwall in the 1990s, Turner revived his passion for painting. His recent works, described as large, semi-abstract, and emotionally charged, tackle urgent themes such as the destruction of Gaza and climate change. Despite still needing to sell his paintings, Turner remains wary of the commercial art industry and its critics, whom he regards with suspicion. He has called for museums to acquire his work, emphasizing their potential to educate audiences about global injustice and environmental crises.

At 100, Turner continues to create and exhibit, with a current exhibition of new pieces open at Wharfside Arts Hub in Penzance through early August. His son, filmmaker Huw Wahl, has produced a film portrait of Turner featured in the show, highlighting his playful approach to art that Turner himself links to the importance of play in learning.

Turner credits art as a vital source of mental and emotional well-being. “If I didn’t make art, I’d die,” he said, underscoring the necessity of creativity throughout his life. Looking ahead, he anticipates continuing his work well beyond his centenary, driven by an inner voice guiding his artistic journey.

Ken Turner’s century-long career embodies a steadfast commitment to rebellion, social conscience, and creative exploration within and beyond conventional artistic frameworks.