Clay Ketter, In Dreams, 2019, laser cut acrylic sheet, mirror, hardware, 120 x 171 x 14 cm
Clay Ketter, Big Star Generator, 2018, corrugated cardboard, roofing nails, packing tape, white polyester, pine and plywood base, high-polished polyester casting resin face and sides, plexi-mounted C-print, 382 x 354 x 5 cm
Clay Ketter, Happy Ending, 2019, installation view.
Clay Ketter, Persson’s Dream, 2019, formica laminate on plywood, wood frame, laser-cut acrylic sheet, teak, hardware, 245 x 248 x 58 cm
Clay Ketter, Gene Pool, 2019, laser cut acrylic sheet, galvanized steel, 21 x 198 x 93 cm
Clay Ketter, Conspiracy Transcended, 2019, Oil paint on Diasec mounted photo, 160 x 120 cm
Clay Ketter, 1975 Resonator, 2019, drum with amplifier, 76 x 32 x 97,5 cm
Clay Ketter, Swan Song, 2019, vinyl, paper mirror-glass lamination, chromed steel, 101 x 170 cm
Clay Ketter, Countenance, 2016, oil paint, schellac, wallboard compound, plastic laminate, masonite, gypsum wallboard, pine wood frame, 125 x 125 cm
Clay Ketter, Ah Pook Was Here, Tag 1, 2015, acrylic emulsion on archival inkjet pigment print on matte rag paper, 150 x 213 cm
Clay Ketter, Mercury Clermont Again, 2015, framed, acrylic emulsion on archival inkjet pigment print on matte rag paper, 81 x 69 cm
Clay Ketter, MADRE Veduta 1, 2011, Diasec-mounted lightjet print, 184 x 150 cm
Clay Ketter, Hickey, 2007, Diasec-mounted C-print, 100 x 150 cm
Clay Ketter, Road 1.b, 2000, Diasec-mounted C-print, 180 x 180 cm
Clay Ketter, Malltavla, 2014, grundskolan Munspelet, Lund, 7 x 5 m
Clay Ketter, Breather, 2010, proposal for drapery, ECOSOC Chamber, UN Campus, New York
Clay Ketter
Clay Ketter’s work is characterized by an uncompromising clarity, be it painting, sculpture or photographic work. Although following an evolutionary path which appears to be completely logical, Ketter manages to take the viewer by surprise again and again by a skillful combination of content and execution. His artistic career originates in Sweden, which has been his home since the late 1980’s, while his work has been exhibited in numerous museums, art institutions and galleries around the world. Early on in his career, Ketter experimented with materials not normally associated with fine art: his Wall Paintings and Trace Paintings challenge the viewer as to the distinction between craftsmanship and art, often succeeding in the refutation of this distinction. Through the years, Ketter’s art has evolved around more existential issues. Mankind’s futile struggle for protection against natural forces as well as other inevitabilities can be seen as the thematic backdrop for the photographic series Gulf Coast Slabs as well as his claustrophobic assemblages of doll’s houses. In these traces of human life and deconstruction, Ketter’s art is outstanding in its ability to highlight the fragility of our existence.
Clay Ketter (b 1961 in Brunswick, Maine) works in painting, sculpture and photography. Over recent years, Ketter has had solo shows in New York, Paris, London and Copenhagen, as well as participated in group shows at Whitechapel Gallery and Saatchi Gallery, London, Lunds konsthall and Museum of Artistic Process and Public Art/Skissernas museum, Lund. In 2009, he had a major solo show at Moderna Museet in Stockholm.
He is represented in numerous collections such as Moderna Museet, Malmö Konstmuseum, Göteborgs Konstmuseum, Museum of Artistic Process and Public Art/Skissernas museum, Lund, Astrup Fearnley Museet, Oslo, Louisiana, Denmark, Saatchi Collection, London, Museum of Contemporary Art, Chicago, Brooklyn Museum, New York, Perez Museum Collections, Miami, Museum of Contemporary Art, San Diego, Walker Art Center, Minneapolis, to name a few.
Press
2022
”Clay Ketter pendlar mellan den perfekta villaidyllen och förlusten av en familj”, Carolina Söderholm / Sydsvenskan Read more…
2016
”Det banala förvandlas till något extraordinärt…”, Joanna Persman / SvD Read more…
”Spår av liv i verkligheten…”, Birgitta Rubin / DN Read more…
2014
”Abstrakt konst återuppstånden…”, Håkan Nilsson / SvD Read more…
Exhibitions
