Clay Ketter b. 1961
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.
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Clay Ketter | Barrio Ghost Cartoon
11 March - 1 April 2021Cecilia Hillström Gallery is pleased to present Clay Ketter's fourth solo show at the gallery. In the series of painted photographs Barrio Ghost Cartoon, biomorphic forms occupy the more or...Read more -
Clay Ketter | …out of my hands
26 September - 2 November 2019Cecilia Hillström Gallery is pleased to present Clay Ketter's third solo exhibition with the gallery. …out of my hands is a comprehensive presentation of new works consisting of installation, sculpture...Read more -
Sculpture Unleashed | Group show in collaboration with Berg Gallery
24 May - 20 June 2018Read more about Berg Gallery here. Participating artists: Amalia Bille Ellen Ehk Åkesson Karolina K Eriksson Johannes Heldén Linda Hofvander Karin Karinson Clay Ketter Katja Larsson Ellen Malmgard Ebba Matz...Read more -
Clay Ketter | Q & A
25 August - 1 October 2016We are proud to present Clay Ketter's second solo show at the gallery. With the exhibition Q&A, Ketter continues to challenge the common notion that a contemporary artist's oeuvre must...Read more -
Clay Ketter | Scope, Not Scape
5 April - 10 May 2014Over the years, Clay Ketter has abandoned the urge to create a singular sensation in his projects, allowing for a complexity which opens up for ambiguous interpretations. His works are...Read more
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Fuckitville, 2022
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Barrio Ghost Cartoon 1, 2021
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Barrio Ghost Cartoon 9, 2021
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Barrio Ghost, 2020
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In Dreams, 2019
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Happy Ending 4, 2019
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Happy Ending 6, 2019
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Happy Ending 10, 2019
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Persson's Dream, 2019
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Gene Pool, 2019
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Big Star Generator, 2018
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Countenance, 2016
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MADRE Veduta 5 small version, 2013
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The Garden Revisited, 2012
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MADRE Veduta 1, 2011
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"Clay Ketter pendlar mellan den perfekta villaidyllen och förlusten av en familj"
Carolina Söderholm, Sydsvenskan, 2 October 2022 -
”Spår av liv i verkligheten…”
Birgitta Rubin, DN, 12 September 2016 -
”Det banala förvandlas till något extraordinärt…”
Joanna Persman, SvD, 5 September 2016 -
”Abstrakt konst återuppstånden…”
Håkan Nilsson, SvD, 9 April 2014