Aus dem Zwischenzustand, Linn Born im Gespräch mit Julia Klemm, gallerytalk, 2019
Clay and plush, or Julia’s art of ek‐stasis by Tanja Klemm, 2018
Notes On the end of Mike Kelley's Work and on the beginning of Julia Klemm's by Justin Lieberman, 2017
BULK, Gallerytalk, 2016
Derangierter Loewe, 2016
Plastik, Artsquare, 2014
Interview, Atelier di cartapesta, 2013
I leggiadri meteoriti di Julia Klemm, scritto da Pericle Guaglianone, Artribune, 2012
Strati, by Giuliana Stella, 2012
For several years, I used to work with ceramics alongside paper, concrete, plush and cardboard in the
creation of my sculptures. The engagement with different materialities and haptic qualities has influenced my approach to
ceramics, which I now regard as my primary sculptural material. My work ranges from clay modelled and glazed forms
(including my own glazing techniques) and ceramic sculptures, which I frequently develop into assemblages in
combination with objets trouvés. In addition to my ceramic sculptures, I am also interested in collaborative projects.
Especially intermedial cooperations allow me to repeatedly question and expand my practical skills and conceptual
Through an engagement with the material, I develop the formal, subtle content of my work. For me, a process-based
practice offers the greatest artistic freedom. In order to achieve this sense of freedom, the creation of new work is
preceded by open, blue sky (as far as this is possible) experiments with ceramics, glaze, and other materials, such as metal
and glass. These experiments enable me to transcend the perceived limits of a material’s possibilities in order to develop
new techniques and create new levels of reality. The content of my work never dominates this process of form-finding
through an engagement with the material. Instead, content and material process are always inseparably linked.
In my sculptures, I question human existence with its perceived abysses and extremes. In my process of creation I therefore
search for forms of the "intermediate state". "Formlessness" is the point of departure for the visual and physical
presentation of something that does not yet exist completely, or the existential formation of which is still uncertain. My
sculptures have a body and at the same time they don’t: they allude to bodies that are appealing and repulsive at the same
time and negate gender and identity. Thus, I seek to challenge the observer to endure this ambivalence and to fill the
"gaps" themselves, to complete the works with their own experiences.
In addition to modeled clay, I find that objets trouvés are a suitable material for these 'metamorphic processes'. I purchase
found objects, including used stuffed animals, ceramic and porcelain figurines, on flea markets and internet platforms
(especially “eBay Kleinanzeigen”). These affective "industrial kitsch" items – always animal figures – are imbued with the
personal relationships and meanings of previous owners, people who one day arrived at the point where they wanted to
get rid of them. While these figures often seem to exist in a kind of bodily and affective state of completion while residing
in the domestic sphere, they are transformed into “disturbing objects” once they enter markets and internet trading
platforms as cast-off material. For my sculptures, I deform – if they have not been deformed already – and reassemble
these objects. Since my interest in the process lies in the concept of the abject (which already plays a role in the choice of
material: rejected artifacts), I merge inner structures and outer forms into one. The textile fabrics burn in the ceramic kiln.
What remains is the ceramic form, with sprawling and cracked glazes.