Remember that we sometimes demand definitions for the sake not of content, but of their form. Our requirement is an architectural one: the definition is a kind of ornamental coping that supports nothing.
‘The smoothness, the tumescence, the milky flow of feminine nudity anticipates a sensation of liquid outpour, which itself opens onto death like a window onto a courtyard.’
‘But a sort of rupture – in anguish – leaves us at the limit of tears: in such a case we lose ourselves, we forget ourselves and communicate with an elusive beyond.’
‘Emerging out of an inconceivable void into the play of beings.’ 2014, Porcelain, Dimensions variable
Oxfordshire-born Kneebone draws on a host of literary and artistic sources in her finely sculpted porcelain work, from Ovid’s Metamorphosis to the surreal, expressive figures of Rodin's The Gates of Hell. Her sculptures have been exhibited around the world, including solo exhibitions at New York’s Brooklyn Museum and White Cube, Bermondsey.