Rachel Kneebone’s sculptures tap into the heritage of porcelain with playful remakings of the kinds of figurines popular during the 18th and 19th centuries. Seen from a distance the cream-coloured sculptures look like sumptuous pavlovas or piles of meringues. Come closer though and you find they are piles of truncated torsos and limbs recalling poetic classical sculptors like Antonio Canova but also medieval frescoes or Hans Bellmer’s dolls. The torsions of the bodies and hive-like activity of individuals morph into one large organism that is ambiguous in being both seductive and succulent but also unnerving and unnatural.


‘399 Days’ White Cube Bermondsey London (2014)
‘Regarding Rodin’, Brooklyn Museum, New York (2012)
‘Lamentations’, White Cube Hoxton Square, London (2010).
‘Obsession’, Maison Particulière, Brussels
‘Flesh’, York Art Gallery, UK (2016)
‘Ceramix’, Breese Little, London,
‘Lust for Life’, Galleri Anderson Sandstrom, Stockholm
‘Ceramix’ at Bonnefantenmuseum, Maastricht (2015)
‘3am: Wonder, Paranoia and the Restless Night’
The Bluecoat, Liverpool and Chapter, Cardiff (2013-14)
‘The Best of Times, The Worst of Times. Rebirth and Apocalypse in Contemporary Art’, 1st Kiev Biennale Arsenale, Ukraine (2012)
‘Living in Evolution’, Busan Biennale, South Korea
‘The Surreal House’, Barbican Centre, London
‘The Beauty of Distance’, 17th Biennale of Sydney (2010)
‘Summer Exhibition’, Royal Academy of Arts, London (2008)
‘The Way We Work’, Camden Arts Centre, London (2005). In 2005, Kneebone was nominated for the MaxMara Art Prize.

Saatchi Gallery
David Roberts
Mario Testino
Zabludowicz Collection
Goss Michael Foundation (George Michael)