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Rachel Kah Sans titre 3 (RK46), 2020


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About the seller
Galerie ACABAS

Bois Guillaume, France

Artsper seller since 2015
131 orders finalized
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About the work
  • Medium

    Sculpture : concrete, ashes, zinc, sand

  • Dimensions cm | inch

    37 x 36 x 2.8 cm

  • Display

    The sculpture cannot be displayed outdoors

  • Type

    Unique work

  • Authenticity

    Work sold with an invoice from the gallery
    and a certificate of authenticity

  • Signature

    Hand-signed by artist

  • About the artwork

    Artwork sold in perfect condition

    Wall sculpture - Mixed media
    Concrete, sand, ash and zinc on MDF
    American black wooden box: 38.5cm x 37.5cm x 2.8cm.
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Origin: Switzerland
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Rachel Kah

Switzerland Born in: 1971

Rachel Kah was born in eastern France in 1971.

Intended for a great career as a dancer, a whim of fate definitively puts an end to her vocation.

So what his body can no longer express, the eye and the hand will do.

Rachel Kah then enrolled at the National School of Architecture in Marseille where she obtained her architectural diploma DPLG. His work was noticed by Rodolphe Luscher, an architect of international renown, who offered to collaborate with him in his studio in Lausanne. The young woman will become head of architectural and regional planning projects. She also designs exhibitions at Far (Forum d'Architectures de Lausanne) and ETHZ (Federal Institute of Technology in Zurich).

At the same time, Rachel Kah never stops creating paintings, sculptures ... until she ends up devoting herself completely to them.

It mainly touches sand but also raw materials such as concrete, zinc, earth, steel, rust or ash. She favors the work of living, constraining, powerful, brutal materials, imprinted with old lives, through which, on the contrary, she sees only the grace and delicacy of the work of time.

The artist creates abstract works that are both rough and airy.

She seeks the balance between traces, scars and imprints, captures of a tame violence.

It tends to sketch the perfection of an ephemeral and intangible state yet constrained to perpetual incompleteness. The intention of the gesture is essential. The materials confront each other. Traces interfere. The fleeting moment freezes.

It also gives life or rather intention to threadlike, graceful, imperfect and ethereal sculptures.

His mind sees, but knows nothing. Her body knows - or thinks it knows - and her hands become its tool, almost in spite of herself. She sculpts the wound and the secret vulnerability of beings, obsessively, incessantly and who irremediably become "The man alone" between her fingers.

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