Clare Kenny

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, especially within her recent series ‘enough rope to hang ‘emselves’. A neon washing line is erected across the gallery where a series of bronze and marbleised sculptural works sit amongst it, replicating the washing lines strung across gardens, ginnels or other available spaces. 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. She is listed in SIKART, Lexikon zur Kunst, Switzerland; 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), the Institute for Provocation in Beijing, supported by ProHelvetia (2015) and the IAAB cite des artes, Paris (2013).

Kenny has exhibited internationally with solo shows at: Touchstones Museum, Rochdale, UK (2017); VITRINE, London, UK (2013 & 2017); Schwarzwaldallee, Basel (2016), CH; Galerie Gisele Linder, Basel (2014 and 2011), CH; Bureau Gallery, Manchester, UK (2013); DOLL espace d’art contemporain, Lausanne (2012), CH; and ABBT Projects, Zürich (2011), CH.

Recent group exhibitions include: ‘Le vent nous portera…’, Kunstkredit Basel-Stadt, Kunsthalle Basel, CH (2018); ‘Arresting Fragments of the World’, Kunsthaus Langenthal, CH (2017); ‘Ding Ding’, Aargauer Kunsthaus, CH (2016); ‘Jahresausstellung Zentralschweizer Kunstschaffen’, Kunstmuseum Luzern, CH (2016); ‘A Journey from a sweeping gesture to a lasting effect’, VITRINE, Basel, CH (2016); ‘Diamonds Always Come in Small Packages’, Kunstmuseum, Luzern, CH (2015); ‘Wilde Capriolen’ AKKU Emmenbrücke, CH (2015); ‘Monolithic Water’ at Kunsthaus Zürich, CH (2014); ‘Asymmetric Dance Class’ at VITRINE, London, UK (2014) Kunstkredit, Kunsthalle Basel, CH (2014); Contemporary Arts Society, ‘Art in the Home 2’, York, UK (2014) and exhibitions at La Kunsthalle, Mulhouse, FR (2013); Accélérateur de particules, Strasbourg, FR (2013);, FABRIKculture, Hégenheim, FR (2013); Kunsthaus Palazzo, Liestal, CH (2013); SAKS Gallery, Geneva, CH (2013); Von Bartha Garage, Basel , CH (2012); Kunsthaus Baselland, Muttenz, CH (2012); Ceri Hand Gallery, Liverpool, UK (2011); and Coalmine Gallery, Winterthur, CH (2011).

She has been shown with Gisele Linder at ARTBASEL (2010-2016) and Artforum Berlin; and by VITRINE at The Manchester Contemporary (2014 & 2016) and Artissima (2014).

Clare Kenny’s public sculpture commission ‘Site Unseen’ launched in July 2016 in Gundeli, Basel.

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, Double Standards, 2018. Print on coloured perspex, frame. 150 x 100 cm each.

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

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) I, 2017, Enough rope to hang ‘emselves (blue), 2016. Vinyl, wood, paint, neon, bronze, wood, acrystal and paint. 330 x 190 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, 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 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, 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, 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, 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, Rumours, 2016. Neon (variable flashing transformer), chain. 63 x 30 cm.

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

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

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

Clare Kenny, Arrested Development 1 (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 3 (triptych), 2014. Plaster, pigment. 43 x 34 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, Form follows fiction, 2013. Steel, spray paint, neon. 130 x 72 x 7 cm.

Clare Kenny, Fiction follows form, 2013. Steel, spray paint, A4 inkjet print, varnish. 126 x 72 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, Don't Let Me Down, 2012. Hand engraved bronze. 0.5 x 0.5 x 8 cm. Unique edition. Edition of 10.

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

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

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

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

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

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

Clare Kenny, Chancer, 2010. Lambda Print, gold chain, spray paint. 45 x 70 x 25 cm.