Throughout her practice, Polish-born, Berlin-based artist Alicja Kwade works to dismantle conventional understandings of the world and propose new perceptions. When I visit her studio, a group of assistants are placing a tree trunk, carved into a stool on one end and remaining covered in bark at the other, on the ground . The top of the forklift carrying the sculpture gently hits a rock, one of eight dangling from a motorized mobile suspended from the ceiling .
In the new pieces, surrounding the curving planes are thin black powder-coated stainless-steel frames supporting giant boulders that appear to almost float in space – structures that reference Kwade’s series, which realign our perceptions of gravity, galaxies, and our solar system.
When asked what she has learned from the process of creating this show, Kwade’s answer reflects the humour punctuating the weighty exhibition in the form of the melon. It has nothing to do with her work; rather, she expresses a longing for the direction of her life: ‘I recognised my desire to escape,’ she says with a laugh. ‘I have a long way ahead, but I want to end up in some kind of a desert. With two cats and a donkey.
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