There were a handful of young children darting between the fragile stoneware sculptures last Thursday at the opening of Klara Kristalova’s Underworld at Galerie Perrotin in New York. Their presence served to underscore the obvious, which was that despite the seemingly naïve, storybook inspired subject matter, Kristalova’s work is anything but child’s play. Her ceramic takes on children's characters, inspired by Nordic stories and myths, teeter somewhere between an innocent familiarity and a menacing isolation.
For this show, Kristalova’s first solo exhibition in New York, the artist chose the circus as the prevailing theme, recreating some of the performers, props, and animals commonly associated with the otherworldly arena of the big top. Beyond their unique subject matter, it’s the decisively imprecise look of Kristalova's sculptures that distinguishes them. A gorgeous, reflective glaze blurs the face of the figure in “Siren” while the arms of a bear-tamer in “Mariage” are disproportionately short, almost as if they had been fashioned by one of the children in attendance.
Despite their stylistic similarities, Kristalova’s characters don’t seem unified as part of a larger ensemble. Introverted and isolated, perhaps they’re ashamed of their freak-dom, turned inwards in an attempt to hide in plain sight. Or, perhaps they’re embracing their individuality. In “She’s From the Woods,” these conflicting moods are particularly evident. The seductively posed, toddler sized creature gazes over her shoulder through wolf eyes, red glaze evoking blood smeared between her fingers and toes. She is simultaneously coy and assertive, innocent and terrifying, exemplifying the dichotomous feelings of discomfort and intrigue that are hallmarks of Kristalova's creations.
Below, see what Kristalova has to say about fairytales, working in ceramics, and what we would find in her Cabinet of Curiosities.
Clarke Rudick: What were your favorite fairytales as a child?
Klara Kristalova: I like a lot of old folks tales, such as Hans Christian Andersen, Selma Lagerlöf, Dracula, and Oscar Wilde’s The Happy Prince. I don’t read them as often now but they still inspire me. I have many influences in addition to the transformations and folktales, including overheard conversations, daily life, movies, music, and other artists' works.
How did you arrive at "the circus" as the inspiration for this body of work?
For this new work, I was interested in circuses as a theme. Not the fantastic big productions kind but the small family type troupes that travel around the countryside. I remember specifically once when we took the family to a village nearby and there was a very "worn out” kind of circus where the same people did all the performances just dressed in different clothes. It was very pretty with lights and a classical charm but at the same time very sad and shabby. They weren’t perfect but you get a sense that they really try, in a simple way. I was inspired by this kind of atmosphere where strange things can happen but we are still close to ordinary life.
Many of your pieces include fantastical figures or objects on display reminiscent of the Cabinets of Curiosities found in Renaissance Europe. What would we find in your Cabinet of Curiosities?
I love Cabinets of Curiosities, but this is a very difficult question. I have no idea. Maybe you could find different shells and parts of dried wood in strange shapes found on shores, [or
For this show, Kristalova’s first solo exhibition in New York, the artist chose the circus as the prevailing theme, recreating some of the performers, props, and animals commonly associated with the otherworldly arena of the big top. Beyond their unique subject matter, it’s the decisively imprecise look of Kristalova's sculptures that distinguishes them. A gorgeous, reflective glaze blurs the face of the figure in “Siren” while the arms of a bear-tamer in “Mariage” are disproportionately short, almost as if they had been fashioned by one of the children in attendance.
Despite their stylistic similarities, Kristalova’s characters don’t seem unified as part of a larger ensemble. Introverted and isolated, perhaps they’re ashamed of their freak-dom, turned inwards in an attempt to hide in plain sight. Or, perhaps they’re embracing their individuality. In “She’s From the Woods,” these conflicting moods are particularly evident. The seductively posed, toddler sized creature gazes over her shoulder through wolf eyes, red glaze evoking blood smeared between her fingers and toes. She is simultaneously coy and assertive, innocent and terrifying, exemplifying the dichotomous feelings of discomfort and intrigue that are hallmarks of Kristalova's creations.
Below, see what Kristalova has to say about fairytales, working in ceramics, and what we would find in her Cabinet of Curiosities.
Clarke Rudick: What were your favorite fairytales as a child?
Klara Kristalova: I like a lot of old folks tales, such as Hans Christian Andersen, Selma Lagerlöf, Dracula, and Oscar Wilde’s The Happy Prince. I don’t read them as often now but they still inspire me. I have many influences in addition to the transformations and folktales, including overheard conversations, daily life, movies, music, and other artists' works.
How did you arrive at "the circus" as the inspiration for this body of work?
For this new work, I was interested in circuses as a theme. Not the fantastic big productions kind but the small family type troupes that travel around the countryside. I remember specifically once when we took the family to a village nearby and there was a very "worn out” kind of circus where the same people did all the performances just dressed in different clothes. It was very pretty with lights and a classical charm but at the same time very sad and shabby. They weren’t perfect but you get a sense that they really try, in a simple way. I was inspired by this kind of atmosphere where strange things can happen but we are still close to ordinary life.
Many of your pieces include fantastical figures or objects on display reminiscent of the Cabinets of Curiosities found in Renaissance Europe. What would we find in your Cabinet of Curiosities?
I love Cabinets of Curiosities, but this is a very difficult question. I have no idea. Maybe you could find different shells and parts of dried wood in strange shapes found on shores, [or