Fusing the corporeal, decorative, historical, and functional, Clementine Keith-Roach (b. 1984) creates detailed, uncanny sculptures that blur boundaries between object and figure. Her work is inspired by clay’s inherent tactility and sensuality, as well as the immediate physical affinity one feels with antique ceramic containers and their readiness to be anthropomorphized. The resulting works simultaneously celebrate the female form and breathe life into the storied histories of domestic objects. Keith-Roach received a BA in Art History from University of Bristol, Bristol, UK and now lives and works in Dorset, UK. She has exhibited at Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; Pervilion, Palermo, Italy and London, UK; The Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; Wellcome Collection, London, UK; and Kasmin, New York, NY; among others. She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach presented Knots, a two-person exhibition with Christopher Page, at P·P·O·W in June 2022. Keith-Roach’s work is featured on the cover of Art in America’s September 2022 issue illustrating Glenn Adamson’s article Monuments for the Moment, which contextualizes her vessels alongside other influential sculptors including Baseera Khan, Julia Kunin, and Martin Puryear. Her second solo exhibition with the gallery will open in October 2024.
Clementine Keith-Roach
b. 1984
Lives and works in London, United Kingdom
Education
2008
B.A. History of Art, University of Bristol, Bristol, United Kingdom
Solo and Two-Person Exhibitions
2024
New Statue, P·P·O·W, New York, NY (forthcoming)
2023
Earth Sky Body Ruins, Ben Hunter Gallery, London, United Kingdom
2022
Knots, P·P·O·W, New York, NY
2021
Mythemes, Ben Hunter Gallery, London, United Kingdom
2019
Labours, Ben Hunter Gallery, London, United Kingdom
2018
Herm, Pervilion, Palermo, Italy
Select Group Exhibitions
2024
Mother Lode: Material and Memory, James Cohan, New York, NY
Present Tense, Hauser & Wirth Somerset, Bruton, United Kingdom
2023
Slip Tease, Kasmin, New York, NY
Milk, Wellcome Collection, London, UK
Wonder and Wakefulness: The Nature of Pliny the Elder, Johnson Museum of Art, Cornell University, Ithaca, NY
2022
Fire Sermon, Public Gallery, London, UK
At The Rose House: Green River Project LLC and Object & Thing, Ridgewood, NJ
Mimicries, curated by Jeffrey Stuker & Jan Tumlir, Ben Hunter Gallery, New York, NY
2021
Go Figure!?, Sprüth Magers (online)
2019
The Blazing World, S|2 Gallery Sotheby’s, London, United Kingdom
Question Centre, Kupfer Projects, London, United Kingdom
These are the days my friends, Kupfer Projects, London, United Kingdom
The Child Within Me, A Selection of Works from the Ömer Koç collection, Istanbul, Turkey
Expedition Empathy Walk & Talk, The Azores, Portugal
Tender Touches, AMP Gallery, London, United Kingdom
Clearings, Blue Projects, London, United Kingdom
2018
Archeology of the Mind: The Metadata of the Villa Lontana, Villa Lontana, Rome, Italy
Full Haus: The Seeld Library, Museum of Contemporary Art, Los Angeles, CA
Interiority, Ben Hunter, London, United Kingdom
three new sculptures, Menagerie, Twentynine Palms, CA
Masterpiece art fair, with Ben Hunter, London, United Kingdom
Belle Dam, Pervilion, Oasis Farm Waterloo, London, United Kingdom
Mademoiselle, Centre Régional d’Art Contemporain Occitane, Sète, France
Rhapsodies, Ping Pong Gallery, Brussels, Belgium
Ladies’ Paradise, Grace Belgravia, London, United Kingdom
2017
Mourning Play, Nitra Gallery, Athens, Greece
Every July, most New York contemporary galleries present “group exhibitions” – a dizzying variety of intelligent curation, unexpected juxtapositions, and exciting introductions to new artists.
Pushing herself into daring new territory, the British rising star she will be creating an installation inspired by ruins for a joint exhibition with her husband at Ben Hunter gallery in London in October
The largest iteration of either fair to date.
On view from February 15 to 19 at the famous Hollywood Roosevelt Hotel, the fair presented 65 galleries from around the world
Keith-Roach’s vessels often seem to tell the story of their own becoming, with surrealistically disembodied hands applying light touches to the surface.
How to define sculpture in 2022? This issue of Art in America offers considerable insight in answering that question, beginning with thoughts from curators we asked to weigh in.
A take-a-seat start to the week, courtesy of British artist Clementine Keith Roach and one of her latest works, titled Nuptials.
Each week, we search for the most exciting and thought-provoking shows, screenings, and events, both digitally and in-person in the New York area. See our picks from around the world below.
Artist couple Clementine Keith-Roach and Christopher Page bring their vision of human interaction to PPOW gallery.
UK-based sculptor Clementine Keith-Roach revisits the world of mythology to give shape to her sculptures as a means to reconstruct the narratives of past, present and future.
The creative, protective, expressive human hand may be the subject of the oldest fiurative depiction of art in history.
What makes a passion for pottery? Kate Finnigan meets six female ceramicists with a unique vision.
Sculptor Clementine Keith-Roach, who creates terracotta vessels featuring limbs, breasts, and other human body parts, has joined the New York–based gallery P.P.O.W.
The artist discusses the process of engaging with maternity — and the rise of ‘boob pottery’
We speak to Clementine Keith-Roach, whose nipple vases are on show in London now, about anthropomorphising pottery to explore the female identity