Jesse Wine’s sculptures are ceramic, a medium traditionally used to produce homeware, and they often take the form of domestic objects, such as mugs or wine bottles. For example, Beatrice Loft Schulz often engages in processes such as beadwork, papier-mache that have historically been aligned with homemaking and thus gendered. I have been following all their work for a long time and the concept behind the show grew out of the links that were already there – that interiority or domesticity plays into all of their work in one way or another. Metal, foam and painted fabric, 74 x 28 x 62 cm.ĬKR: The constellation of artists came first. But, to me, the exhibition does not fully cohere into a set because the objects themselves are so strange and powerful and particular – they are the protagonists and it is them that inhabit the space.īen Burgis and Ksenia Pedan. As curator of this quasi-domestic space, I am also a “homemaker” and, given that I am also a set designer, you might imagine that this is a set that is a reflection of myself. The artworks in it are arranged like furnishings that make the gallery into a kind of mise-en-scène. Who do you imagine inhabiting the space? Is it you?Ĭlementine Keith-Roach: This exhibition, Interiority, does allude to a domestic interior. One plinth that you constructed for the show clearly echoes a mantelpiece, holding a sculpture that becomes a domestic showpiece. Izabella Scott: The objects in Interiority are arranged like furniture in a drawing room: one painting poses as a mirror, another sculpture is a dwarfed chaise longue. Over a cup of chocolate-flavoured rooibos, we talk about fertility cults, wireless breastpumps and bodybuilding with breastmilk. When Hunter/Whitfield closes, we escape the cold in a warm, dimly lit cafe in the basement of Waterstones bookshop. Keith-Roach is wearing a large dappled-fur hat and an oatmeal cashmere coat, beneath which I glimpse a Mattise-patterned knit – the unmistakable leaves of the cheese-plant. It is snowing when we meet and the city is white. Ceramic, plaster, paint, Roman ring, 52 x 30 x 27 cm. Two of her breast urns are on display here – Lac (2018) and Kore (2018) – as are another pair across London, at Grace Belgravia, a luxury club including a spa and medical centre for women, which occasionally doubles as an exhibition space.Ĭlementine Keith-Roach. Hunter/Whitfield has recently relocated to this narrow Victorian townhouse, and Interiority reflects an elegant “pad” of sorts, but also a community: a set of artists and makers who are Keith-Roach’s friends, colleagues and confidants, and with whom she has been in conversation for a decade. I meet Keith-Roach (b1984) on Princes Place in Mayfair, to visit Interiority, an exhibition at Hunter/Whitfield akin to a set, which includes an aluminium grandfather clock by Simon Mathers, a trompe l’oeil painted mirror by Christopher Page and a spindly chaise longue by Ben Burgis and Ksenia Pedan. Ceramic, plaster, paint, 52 x 34 x 32 cm. She creates atmospheres of opulence that are also tricks of the eye: trompe l’oeil leopard skin, plastercast plug sockets, marble-coated water coolers and chess pieces cast from coins.Ĭlementine Keith-Roach. Roach’s practice has often been entwined with the domestic – situated in interior spaces, in friendships and family relationships, taking the forms of telephones, pots and chairs. She was pregnant, and her anthropomorphised classical urns, already feminised vessels, seemed to take on the changes to her body. I first saw Clementine Keith-Roach’s nipple urns in Athens, where the artist and set-designer and her partner Christopher Page were living for a year. Clementine Keith-Roach: ‘I think of domestic objects and furniture as physical extensions of our body’ The artist and set designer discusses casting her mother’s breasts for one of her nipple urns, breast milk for bodybuilders and the problematics of bodies and economies
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