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 first solo exhibition with P·P·O·W, New statue, was on view in Fall 2024. In Spring 2025, her work was on display at Ben Hunter Gallery, London, UK, in her solo exhibition Nothing that has ever happened is lost.