Clare Kenny

Clare Kenny, Double Standard and Sad Sacks, 2018. Installation view, Kunstkredit Basel-Stadt, Kunsthalle Basel, CH. Image courtesy of Kunsthalle Basel, CH.

Clare Kenny, Industrial Romantic, 2017. Installation view. Courtesy of Touchstones, Rochdale, UK.

Clare Kenny, Industrial Romantic, 2017. Installation view. Courtesy of Touchstones, Rochdale, UK.

Clare Kenny, Industrial Romantic, 2017. Installation view. Courtesy of Touchstones, Rochdale, UK.

Clare Kenny, Arresting Fragments of the World, 2017. Installation view. Courtesy of Kunsthaus Langenthal, CH.

Clare Kenny, Arresting Fragments of the World, 2017. Installation view. Courtesy of Kunsthaus Langenthal, CH.

Clare Kenny, Arresting Fragments of the World, 2017. Installation view. Courtesy of Kunsthaus Langenthal, CH.

Clare Kenny, Arresting Fragments of the World, 2017. Installation view. Courtesy of Kunsthaus Langenthal, CH.

Clare Kenny, Enough rope to hang ‘emselves, 2016. Installation view. VITRINE, London. Photographer Jonathan Bassett.

Clare Kenny, Enough rope to hang ‘emselves, 2016. Installation view. VITRINE, London. Photographer Jonathan Bassett.

Clare Kenny, Enough rope to hang ‘emselves, 2016. Installation view. VITRINE, London. Photographer: Jonathan Bassett.

Clare Kenny, Site Unseen, 2016. Installation view. Public sculpture commission, Gundeldingerquartier, Basel, CH.

Clare Kenny, Let them eat pies, 2016. Installation view. Courtesy of Schwarzwaldallee. Photographer Nici Jost.

Clare Kenny, You and me and X, Y and Z, 2016. Installation view.

Clare Kenny (with Jamie Fitzpatrick, Busts) The Manchester Contemporary 2016, Booth 317. Installation view. Photographer: Harry Meadley.

Clare Kenny, An Ideal for Living, 2014. Installation view.

Clare Kenny, Lapses, 2013. Installation view. Courtesy of SAKS Gallery.

Clare Kenny, Something and Nothing, Odds and Ends, 2011. Installation view.

Clare Kenny, Yesterday’s labour is the Future’s folly, 2013. Installation view. VITRINE, London.

Clare Kenny, Yesterday’s labour is the Future’s folly, 2013. Installation view. VITRINE, London.

Clare Kenny, Yesterday’s labour is the Future’s folly, 2013. Installation view. VITRINE, London.

'Yesterday’s labour is the Future’s folly' Installation shot, 2013

Clare Kenny, Yesterday’s labour is the Future’s folly, 2013. Installation view. VITRINE, London.

Clare Kenny, Crackerjack, 2012. Installation view. Courtesy of von Bartha, Basel, CH.

Clare Kenny, Jezebel, 2019. Plaster, plexiglass, pigment, pump, plastic tubing, Carrara marble stones. 92 x 75 x 75 cm.

Clare Kenny, Jezebel, 2019. Plaster, plexiglass, pigment, pump, plastic tubing, Carrara marble stones. 92 x 75 x 75 cm.

Clare Kenny, Double Standards (Blue Black & Black), 2018. Print on coloured perspex, frame. 150 x 100 cm each.

Clare Kenny, Double Standards (Green), 2018. Print on coloured perspex, frame. 150 x 100 cm each.

Clare Kenny, Double Standards (Brown), 2018. Print on coloured perspex, frame. 150 x 100 cm each.

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Clare Kenny, Sad Sack, 2018. Plaster, pigment. Dimensions Variable.

Clare Kenny, Sad Sack, 2018. Plaster, pigment. Dimensions Variable.

Clare Kenny, Jello, 2018. Hydrocal plaster, resin, pigment. 23 x 23 x 9 cm.

Clare Kenny, You Always Run Hot and Cold, 2018. Hydrocal, bronze, pigment, water, plastic tubing, glass, plastic foil. Dimensions variable.

Clare Kenny, Shoe’s on the other foot, 2018. Hydrocal plaster, pigment, bronze, pigmented water, plastic tubing, glass bowl. 86 x 43 x 10 cm.

Clare Kenny, One for the road (#1 - #5) and Odds and Ends, 2011-2013. Plaster, pigment, (concrete). Dimensions variable.

Clare Kenny, Party’s over, 2016/2017. Polyurethane, acrylic paint. Series of nine, hung in groups. 10 x 20 x 10 cm each.

Clare Kenny, Party’s over, 2016/2017. Polyurethane, acrylic paint. Series of nine, hung in groups. 10 x 20 x 10 cm each.

Clare Kenny, Peeping Tom I, 2017. Polyester fabric, ceramic, jesmonite, spray-paint, wood. 307 x 500 cm (fabric), 15 x 20 x 10 cm (hands).

Clare Kenny, Peeping Tom III, 2017. Polyester fabric, ceramic, jesmonite, spray-paint, wood. 307 x 500 cm (fabric), 15 x 20 x 10 cm (hands).

Clare Kenny, Peeping Tom I, 2017. Polyester fabric, ceramic, jesmonite, spray-paint, wood. 307 x 500 cm (fabric), 15 x 20 x 10 cm (hands).

Clare Kenny, Peeping Tom II, 2017. Polyester fabric, ceramic, jesmonite, spray-paint, wood. 307 x 500 cm (fabric), 15 x 20 x 10 cm (hands).

Clare Kenny, Dirty old town 1-3, 2017. Printed Perspex glass, steel frames, paint, gilding wax. 100 x 250 x 5 cm each.

Clare Kenny, Cyclops, 2017. Printed Perspex glass, steel frame, paint. 100 x 200 x 5 cm.

Clare Kenny, Pastel dream on a mid summer morn (reloaded) IV, 2017, Enough rope to hang ‘emselves (pink), 2016. Vinyl, wood, paint, neon, bronze, wood, acrystal and paint. 190 x 180 cm.

Clare Kenny, Pastel dream on a mid summer morn (reloaded) II, Enough rope to hang ‘emselves (green), 2017. Vinyl, wood, paint, neon, bronze, wood, acrystal and paint. 170 x 250 cm.

Clare Kenny, Pastel dream on a mid summer morn (reloaded) I, 2017, Enough rope to hang ‘emselves (blue), 2016. Vinyl, wood, paint, neon, bronze, wood, acrystal and paint. 330 x 190 cm.

Clare Kenny, Golden Shower, 2015. Liquid ceramic, pigment. Diptych. 180 x 70 x 3 cm. 180 x 70 x 3 cm.

Clare Kenny, Don't Let Me Down, 2012. Hand engraved bronze, Nappa and Kamosho finished Etui. Unique edition. 0.5 x 0.5 x 8 cm. Edition of 10.

Clare Kenny, False Comfort 1, False Comfort (3 and 5), 2016. Beanbag, printed fabric, polystyrene balls. 120 x 120 x 60 each. Edition of 3 (1 AP). Photographer Nici Jost.

Clare Kenny, Rumours, 2016. Neon (variable flashing transformer), chain. 63 x 30 cm.

Clare Kenny, Duck Wine, 2016. Printed plexiglass, framed. 100 x 79 cm. Photographer Nici Jost.

Clare Kenny, The past was yours but the future is mine, 2012. Lambda prints, spray paint. 80 x 120 cm.

Clare Kenny, MG montego & Toyota Corrola, 2014. Photo print on glass. 58 x 71 x 0.5 cm and 70 x 94 x 0.5 cm. Edition of 3 (1 AP).

Clare Kenny, Ionic and Corinthian, 2011. Plaster, concrete, pigment. 70 x 75 x 30 cm.

Clare Kenny, Harlequin, 2010. Lambda print, spray-paint, plexi-box. 30 x 30 x 10 cm.

Clare Kenny, Don't Let Me Down, 2012. Hand engraved bronze. 0.5 x 0.5 x 8 cm. Unique edition. Edition of 10.

Clare Kenny, Balloons, 2010. Plaster, paint. 20 x 6 x 20 cm.

Clare Kenny, Arrested Development 3 (triptych), 2014. Plaster, pigment. 43 x 34 cm.

Clare Kenny, Arrested Development 2 (triptych), 2014. Plaster, pigment. 43 x 34 cm.

Clare Kenny, Arrested Development 1 (triptych), 2014. Plaster, pigment. 43 x 34 cm.

Clare Kenny, An Ideal for Living, 2014. Installation in plaster, acrylic paint. Dimensions variable.

Clare Kenny, Give em enough rope, 2011. Neon light, found fencepanel. 98 x 200 x 15 cm.

Clare Kenny, Fiction follows form, 2013. Steel, spray paint, A4 inkjet print, varnish. 126 x 72 x 3 cm.

Clare Kenny, Form follows fiction, 2013. Steel, spray paint, neon. 130 x 72 x 7 cm.

Clare Kenny, No Hard Feelings, 2012. Lambda and baryt prints, spray paint, varnish. 110 x 120 x 45 cm.

Clare Kenny, Sad Sack, 2018. Plaster, pigment. Dimensions Variable.

Clare Kenny works with a variety of materials – such as found objects, building materials, plaster, ceramic, fabric, glass, neon, plexi and spraypaint – yet her work almost always originates in photography, sometimes simply the idea of the photograph. Informed by personal viewpoints and experiences, especially her upbringing and family history, Kenny often toys with notions that relate heavily on a wider level to many people’s lives, where shared histories is a recurring theme throughout Kenny’s practice.

Aspirations of the working class and their determination to better themselves is something Kenny often references within her own work. In ‘enough rope to hang ‘emselves’ neon washing lines are erected with a series of bronze and marbleised sculptural elements as hooks and hoops, replicating the washing lines strung across gardens, ginnels or other available spaces. Her ongoing series of cast plaster works, makes use of domestic buckets, bins or cake tins as moulds. Paint pigment is poured into the plaster to create a mock marbleised finish to the surface of the cast sculptures, which are then stacked or hung.

Addressing personal affiliations with Northern England is inherent, by carefully highlighting the use of domestic objects and use of materials, Kenny transforms them into objects of high esteem, focusing on shared visual memories and aesthetics of aspiration.

 

Clare Kenny (b. 1976, Manchester, UK) studied her BA at Chelsea School of Art London and MA at HSLU Luzern, Switzerland, and has been living and working in Basel, Switzerland since 2007.

Kenny has exhibited internationally at galleries and institutions, including: Touchstones Museum, Rochdale, UK; Kunsthaus Zürich, CH; Kunsthalle Basel, CH; Kunsthaus Baselland, Muttenz, CH; Kunsthaus Langenthal, CH; Aargauer Kunsthaus, CH; Kunstmuseum Luzern, CH; AKKU Emmenbrücke, CH; DOLL espace d’art contemporain, Lausanne, CH; ABBT Projects, Zürich, CH; Contemporary Arts Society North, York, UK; La Kunsthalle, Mulhouse, FR; and at art fairs including: ARTBASEL, Basel, CH; Artgenève, Geneve, CH; Artforum Berlin, DE; The Manchester Contemporary, UK; and Artissima, Turin, IT.

She is listed in SIKART, Lexikon zur Kunst, CH; has twice been shortlisted for the Swiss Art Awards; and was awarded the Kunstkredit Prize from the city of Basel in Switzerland in 2013 and 2017/18. She was an artist in residence at Residency Unlimited in New York, USA (2018), at the Institute for Provocation in Beijing, supported by ProHelvetia (2015) and the IAAB cite des Artes, Paris (2013).

Kenny’s permanent public sculpture commission ‘Site Unseen’ launched in July 2016 and is on view in Gundeli, Basel. She is currently exhibited in the group show ‘If it’s not meant to last, then it’s Performance’ at VITRINE, Basel, CH (Until May 2019) and in the exhibition ‘If I was a Rich Girl’, which she has also curated, at Kunst Raum Riehen, CH (Until 20 June 2019). She will be presented by VITRINE at Marfa Invitational (April 2019).