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    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
    From the series "Clay Feet" | DER GREIF
    From the series "Clay Feet"
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    Clay Feet

    Artist Feature of Rebecca Horne

    “Clay Feet” explores contradictory themes as growing and aging simultaneously, stasis and transformation. I use raw, unfinished clay as a metaphor for the shaping of a new self. Covered in clay, I pose as Gaia, casually eating the leg of her captor. The clay self asks: What is the weight of history? Can I bend the arc of art history to channel my power, my rage? Who and what have I created of my flesh?

    Clay is a metaphor and a subject. It is cold, dense, and slow. It must be warmed by the body, moistened with water. It is malleable, but becomes static. Paper is fast, loose, and clean. Food is a conduit for pleasure, comfort, and sustenance. Anti-monumental materials and techniques resist narratives of technical perfection and permanence.

    “Clay Feet “combines myth and autobiography, quoting from art history, specifically, Aby Warburg’s Mnemosyne Atlas.

    Embracing ideas of the feminist and queer body-as-archive, “Clay Feet” explores how images are absorbed into, held and expelled by the body. Through performance-based methods, subconscious images are expressed and captured by the camera in a process similar to drama-therapy or re-enactments. As records of cathartic enactments, similar to spellcasting or wish fulfillment, my photographs balance the static and the performative, the private and public.

    Bold style: Rebecca Horne took part in our Face-to-Face educational feedback program with Caroline von Courten, Diana Poole and Ilaria Sponda. Horne is also part of »Guest Room: Ghislain Pascal & Sebastian Perinotti«.

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    Rebecca Horne

    Rebecca Horne is a Brooklyn-based artist and art director. She is represented by the Centre Claude Cahun for Contemporary Photography in Nantes, France. Her solo exhibition history includes shows at Roebling Hall Gallery in New York City, Centre Claude Cahun, and the Tyler School of Art in Philadelphia. She has taught fine art photography at the California College of the Arts and Rutgers University and her writing has been published in The Wall Street Journal, Wired, CNN, the National Academy of Sciences, and Nautilus Magazine among others. She serves as a judge for the Webby, Anthem, and Telly Awards, and has been a photography portfolio reviewer for the Santa Fe Review, the Center for Photography at Woodstock, Powerhouse Books, and PhotoAlliance and a mentor in the New Inc. incubator at the New Museum of Contemporary Art.