Simone Kessler

Globe2019, Installation, clay in plastic bags on three stainless steel tubs (140x90 cm), arrangement variabel
2019, Installation, clay in plastic bags on three stainless steel tubs (140x90 cm), arrangement variabel
Globe2019, Installation, clay in plastic bags on three stainless steel tubs (140x90 cm), arrangement variabel
2019, Installation, clay in plastic bags on three stainless steel tubs (140x90 cm), arrangement variabel
Globe2019, Installation, clay in plastic bags on three stainless steel tubs (140x90 cm), arrangement variabel, Exhibtion view Erdzeit and Globe
2019, Installation, clay in plastic bags on three stainless steel tubs (140x90 cm), arrangement variabel
Exhibtion view Erdzeit and Globe

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.