Kitchen Pieces, 2012

Fresh fruit and vegetables, steel nails
Photo © Andrea Rossetti, 2012

Kitchen Pieces, 2012

Fruit and Vegetable, steel nails
Installation view Barbara Gross Galerie, München, 2015
Photo © Wilfried Petzi, 2015

The Ginger, 2012

Ginger, steel nail
Photo © Andrea Rossetti, 2015

The Potato, 2012

Potato, steel nail
Photo © Andrea Rossetti, 2015

The Sweet Potato, 2012

Sweet potato, steel nail
Photo © Andrea Rossetti, 2015

Kitchen Pieces, 2012

Fresh fruit and vegetables, steel nails
Photo © Andrea Rossetti, 2012

Kitchen Pieces, 2012

Fruit and Vegetable, steel nails
Installation view Barbara Gross Galerie, München, 2015
Photo © Wilfried Petzi, 2015

The Ginger, 2012

Ginger, steel nail
Photo © Andrea Rossetti, 2015

The Potato, 2012

Potato, steel nail
Photo © Andrea Rossetti, 2015

The Sweet Potato, 2012

Sweet potato, steel nail
Photo © Andrea Rossetti, 2015

Kitchen Pieces

since 2012

An important aspect of the fascination exercised by Karin Sander's work is the discoveries she makes interacting with everyday objects. Again and again, she succeeds through often minimal shifts in perspective in reinterpreting things in surprising ways, making us radically aware of how strongly rooted are our habitual ways of dealing with the world. Thus it is no coincidence that a kitchen should become a central component of the experimental space she has set up in her studio.

Sander's "kitchen pieces", the centrepiece of her third solo exhibition in the Barbara Gross Galerie, are outstanding examples of the stunning simplicity of her artistic touch: Sander assimilates real fruit and real vegetables into the definitional scope of art by simply fixing them to a wall with nails. It is uncanny how apples and potatoes are suddenly transformed in our perception into abstract objects – or even into "realistic" sculptures. The sense of confusion overwhelming the artistic context is almost tangible, as "the thing itself" (rather than a clever illusionistic representation) takes centre stage. Equally striking is the uncanny power of cultural conventions, such as that of hanging objects on walls, in determining the framework within which we conceive of reality.

From press release: Karin Sander, Barbara Gross Galerie, 2015, Translation by Stephen Richards.

Presented in exhibitions

i8 Gallery, Reykjavik, 2016
Carolina Nitsch Contemporary Art, New York, 2018