While celebrated in 2009 as an “outstanding talent” by the prize for L’Intelligence de la main awarded by the Fondation Bettencourt Schueller, and in 2012 by Sèvres-Cité de la Céramique, which held a retrospective of her work a er a four-year residency, the American artist Kristin McKirdy is still an experimenter. A er her 2006 show at the Galerie Mouvements Modernes, run at the time by Pierre Staudenmeyer, she has been constantly coming up with new work, and surprising us. She recently became involved with jewellery for the couturier Kris Van Assche. Her limited-edition “talisman sculptures” enriched the 2016 Homme collection for the house of Dior. As a major gure in contemporary ceramics whose work recently found its way into the collections of the Museum of Arts and Design [MAD] with a wall sculpture and the “Co re-Nuage” (Cloud-Chest) from Sèvres, Kristin McKirdy is also showing new installations and sculptures, in addition to a mural work, as well as novel forms and textures, and light objects.
Since her discovery of ceramics at the age of een, Kristin McKirdy has never stopped working. A er studying in France (Paris IV, Sorbonne University) and North America (UCLA, under the supervision of Adrian Saxe), she quickly detached herself from the utilitarian dimension of ceramics and headed towards a personal form of sculptural expression. It was in that period that she chose earthenware (faience) over stoneware, which, like porcelain, is more exposed to the risk of deformation. Her art has been fashioned by putting rigour and technical mastery at the service of a sensibility encompassing the spiritual dimension of ceramics, which is a universal and timeless medium. Her work is inspired by everyday life and nurtured by a vast historical culture—with a so spot for primitive cultures and the Neolithic period— and is based on the idea of the receptacle as an immemorial witness to human activity and a metaphor of the human body.