a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Ghost, installation view2007
4 press moulded porcelain plates and 7 vessels
Dimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Ghost, installation view2007
4 press moulded porcelain plates and 7 vessels
Dimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Ghost (detail)2007
4 press moulded porcelain plates and 7 vessels
Dimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Ghost, installation view2007
4 press moulded porcelain plates and 7 vessels
Dimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Ghost (detail)2007
4 press moulded porcelain plates and 7 vessels
Dimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Rescript, 2006
Rescript, 2006
5 porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Tenebrae No. 2, installation view, 2004
Tenebrae No. 2, installation view, 2004
15 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Tenebrae No. 2 (detail), 2004
Tenebrae No. 2 (detail), 2004
15 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Below the waterline, 2005
Below the waterline, 2005
52 porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
A reading silence, 2004
A reading silence, 2004
24 porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
A reading silence (detail), 2004
A reading silence (detail), 2004
24 porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
register (detail)2007
27 porcelain vessels contained in two steel cases.
21 x 200 x 15 cm each
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Predella2007
39 porcelain vessels in a lacquer cabinet
120 × 130 × 185 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, Predella; installation view2007
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Rill2007
34 porcelain vessels, mild steel angle
80 × 210 × 80 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Rill2007
34 porcelain vessels, mild steel angle
80 × 210 × 80 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a change in the weather2007
365 altered porcelain vessels in a lacquer cabinet
159 × 135 × 75 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a change in the weather (detail)2007
365 thrown and altered porcelain vessels in a lacquer cabinet
159 × 135 × 75 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Last Things (installation view), 2006
Last Things (installation view), 2006
58 porcelain vessels on laser cut mild steel plinth27 × 180 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Arcady2007
18 porcelain vessels, laser cut mild steel case
140 x 30 x 30 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Attic, installation view, 2005-2007
Attic, installation view, 2005-2007
99 porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
a line around a shadow, installation view, 2005
a line around a shadow, installation view, 2005
97 thrown porcelain vesselsDimensions variable
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
register2007
27 porcelain vessels contained in two steel cases
21 × 200 × 15 cm each
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Aurea2007
28 porcelain vessels in white lacquer cabinets
35 × 35 × 45 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
Shelf life2007
32 porcelain vessels, mild steel cabinet
95 x 37 x 10 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.
All you can see, 2006
All you can see, 2006
31 porcelain vessels on a red shelf10 × 117 × 8 cm
Edmund de Waal at Kettle's Yard, mima and elsewhere
Kettle's Yard, Cambridge; MIMA, Middlesborough
2007
In 2007 Edmund de Waal made a series of site-sensitive installations for exhibitions at Kettle’s Yard, Cambridge, and at mima, the Middlesborough Institute of Modern Art. There were various orders of multiples, all framed in some way – either by the domestic context of Kettle’s yard, or the white cube galleries of mima. De Waal wanted to push at the idea of where ceramic things can belong, to play with a pre-established grammar of display. Much of this project was about not only finding places where objects can have a dialogue with architecture in a very invigorating way, but also playing architect, creating my own spaces, frameworks, in which to see the work.