I fired the assembled objects as one in the ceramic kiln. They communicate with each other not only formally but also through sounds. The distorted bits of sound are from several places and tell fragmentary life stories. Among them are an angry man’s random screams in the subway and a medical description of pathological changes in human organs.






ABJECT PERFORMANCE
ceramic, glaze, metal, sound
Botanikum Munich
2015

Chronology of Purple Beach

March 2015: I am gutting used stuffed animals and transforming them into ceramic objects with proliferating features.
Wednesday, May 27, 2015: A freighter named Purple Beach, carrying farm animal waste, is about to explode in the North Sea (www.faz.net/aktuell/ gesellschaft/ungluecke/, 27.05.2015-23:02)
Thursday, June 5, 2015: Ceramic objects sit on blankets made of woven strips from heavy-duty plastic bags, in the dimensions of europallets in a former factory building in Dusseldorf.






PURPLE BEACH
heavy duty plastic bags, ceramic, plush
3,5 x 1,9 m
Weltkunstzimmer Dusseldorf
2015

The work begins with former stuffed animals: after cutting, eviscerating, deforming, saturating, glazing and firing them, they are transformed into new creatures. Once out of the kiln, I placed them in the spatial structure of a former bakery: within and on top of the showcase, on the tiled floor and around the sink.






SPACE-RELATED LABORATORY ANIMALS
ceramics, glaze, engobe, plastic bags, paper towel
abanoned shop
exhibiton Raumgewinn Institute of Ceramic and Glass Arts
2015

ABFERKELBUCHT (farrowing pen)
ceramic, glaze, engobe, plush,
farrowing pen, wire
2,5 x 1,6 x 1,5 m
Academy of Fine Arts, Munich
annual exhibition
2014

Black plush sprawls across the walls and ceiling, covering an area of 3 m2. The floor features a coated ceramics object that has been wrapped in net and placed on a satellite image of a factory farm generated by Google Earth.






MACHT (POWER)
fabric, ceramic, metal, plastic, photography, cardboard
3 x 2,5 x 2,5 m
Mason Gross School Of The Arts, New Jersey 2014

I was intrigued by the notion of a volcano as something that cannot be controlled, limited or legally insured. When I began to use this notion for the creation of an artwork I noticed a conflict between the different forces inherent in my material and the static music stand.






NOTENSTÄNDER VS. VULKAN (MUSIC STAND VS. VOLCANO)
cement, music stand, plush
80 x 40 x 45 cm
Kunst sichert - Notenfelder
curated by Mehmet Dayi
Zurich Bezirksinspektion, Munich
2014

I built the objects into iron cages, which, after I removed them, left deep indentations in the material.

http://artsquare.com.de/summershow/






UNTITLED
ceramic, engobe, glaze, foam
100 x 70 x 56 cm and small sizes
Artsquare, among others with Hannah Ballhaus & Kristina Schmidt, Munich
2014

For "Kofferarbeit", a suitcase serves as material support for a landscape. Printed silk paper stretches across a wooden framework, cardboard and wire, forming a mountainous landscape.






KOFFERARBEIT (SUITCASE WORK)
printed paper, hard plastic suitcase,
cardboard, wood
250 x 190 x 72 cm
Rutgers Gallery, New Jersey (USA)
Part of the Villa Katrin Bechtler Collection,
Zurich, since 2012

INDIANER UND COWBOYS
ceramic, foam
85 x 195 x 42 cm
Galerie der Künstler, Munich
2012

From a birds-eye view one often sees more clearly and becomes able to discern things which had been unperceivable before. Google Maps uses this perspective and thus makes visible a vast territory of interrelated landscapes. The images here reveal the extent to which nature is man-made and fragmentary, but also unified in order to serve human needs. Some of these fragments were compressed, transformed into geometrical paper objects and eventually returned to their three-dimensional state.

http://www.artribune.com/2012/05/i-leggiadri-meteoriti-di-julia-klemm/







STRATI
curated by Giuliana Stella photography, cardboard, wire lasituazione, Rome 2012