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Shell is a work made from a block of marble. By grinding and cutting with the angle grinder, I almost completely hollowed out the stone. In my apprenticeship as a sculptor, the guiding principle of the teachers was that we have to work stone, appropriate to the stone and that the workpiece has to be solid and in one block.
In search of my design language, I have been trying for years to reassess what I have learned and to find my way. Stripping the stone of its compactness and leaving a filigree shell involved the risk of the piece breaking. This fine line between resilience and malleability is what interests me in the work process. My work is a practice of the limit and at the same time a reflection on the ambivalence of limitation.
Text excerpt, borders without borders, Dr. Anna Spohn about Katharina Mörth
To differentiate ourselves, we need to draw boundaries between our things. Every determination, every limitation, as Spinoza said, is at the same time a negation. A thing cannot be defined on its own. A distinction can only be made through a caesura to something else, through a practice of the boundary. This also applies to the individual, because the realization that "I am" entails that "I am not you". An “I” arises from the experience of another. Borders are necessary because freedom is only possible within borders. And yet this freedom is subject to limitations. Being able to think depends on conceptual definitions and categorizations. Words, in turn, define and constrain what is thought within these definitions. A physical boundary, for example, a room, creates a space of possibility and at the same time, this space restricts freedom of movement. As with a caterpillar, which can only develop in a cocoon and yet has to free itself from it one day, borders should be permeable and able to be overturned again and again. Katharina Mörth's work is a practice of boundaries and at the same time a reflection on the ambivalence of limitations.