Simone Kessler

Boden2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm, (exhibition view)
2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm
(exhibition view)
Boden2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm, (exhibition view)
2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm
(exhibition view)
Boden2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm, (exhibition view)
2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm
(exhibition view)
Boden2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm, (exhibition view)
2015, installation, 3,5 metric tons of marbled clay, 700 x 700 x 3 cm
(exhibition view)
Bodenseveral metric tons of marbled clay, (clay pit)
several metric tons of marbled clay
(clay pit)

The floor of the exhibition space is covered with 3,5 metric tonnes of fresh, moist clay. The natural marbling of the thousand of years old material is clearly visible. Earth taken directly from the clay pit is given its new form through manual processing to form an overall surface. The viewer is denied access to the 50 square meter room and the material remains a secret. Associations with marble arise, while on the other hand, one experiences an organic, ephemeral impression, such as when looking at meat. Earthy, damp smells and the seamless processing of the inaccessible surface provide subtle clues to its actual materiality.

From the Series Clay Studies:

In Claystudies, I have concentrated entirely on the material clay to create something temporary, something that lives and continues to develop. The starting point for this series of works was my work Boden (Floor), a 50-square-meter room with a smooth floor made of still moist clay. I had hauled 3,5 tons of raw material by trailer from a clay pit in Hesse, brought it into the exhibition room, and painstakingly spread it out on the floor by hand, until a flat surface was created. In the exhibition, the clay surface could be viewed, but not walked on. I was primarily concerned with the spatial effect of the material and the confrontation with its transformation process. After the exhibition, I tore the work down: crushed to powder and mixed with water, the clay became a mass with homogeneous color and new suppleness again. It serves as a raw material for subsequent works. The objects created from the recycled clay are once again entirely dedicated to the material and its processes of change. The unpreservable change of state of the material is an important subject of my works of the series Claystudies.