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Clare Kenny
| 1976 |
born in UK
lives and works in Basel |
| 1996 |
Foundation course, Art and Design, Manchester University |
| 1997-99 |
HND Photography and Contemporary Imaging, Stokport College, UK |
| 1999-02 |
BA Fine Art
Chelsea School of Art and design, London |
| 2008-10 |
MA Fine Art in Public Sheres
Hochschule für Kunst und Gestaltung Luzern |
| 2013 |
Cité Internationale des Arts, Paris |
The forging of narrative fragments with materiality and a sense of mise-en-scene is in force in the work of Clare Kenny. In using disparate matter such as discarded kitchenware, paint, plaster and her own salvaged photographs, a sense of the familiar is something that always catches the corner of your eye.
Living in Basel, Switzerland, but originating from Manchester, England there persists a tension in Kenny’s work between that which is constructed from memory, and a certain sense of historicity of material matter – and yet not. Kenny would say that her work is a construction of fact versus fiction, memory versus illusion, immaterial-ness and materiality. What seems pertinent is that her approach to materials is a notably contemporary one. For example, marble is flattened and malleable, photographs are curled, rolled, folded and hole-punched, utility objects made hard and non-useable.
As well as the playfulness in what this may suggest, there is an arc in Kenny’s work that melds feminine and masculine sensibilities. In this way one could argue that Kenny de-genderises materials rendering their historical associations, indistinct and in a way non-traceable, messed up but intrinsically ‘present’.
Excerpts from an article written by Natasha Rees published in Wall Street International magazine, 2013.
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