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Katinka Bock’s work is rooted in a discursive thought of sculpture and language. The shape is often a result of a working process where the rational and the unforeseen meet each other. She develops a body of work in sculpture, installation and photography that dialogues with architecture, uses and environments. She creates dialogues between materials, their stories and those of the encountered contexts. She takes care of the balances and imbalances of spaces and atmospheres, fully integrating the dimension of scenography into her work. Each of her installations defines a space and often seems to wrestle against the claustrophobia of the exhibition spaces; tending to open doors, windows, walls, holes by which to escape, or to let in rain or air. Firmly rooted in the field of sculpture, Katinka Bock’s art has remained permeable to the production of imagery – filmic, and above all, photographic. Photography constitutes what she calls the “periphery” of her work: a practice that she develops at its margins; but that also functions, between her and the world, as a threshold, as a site of porosity and experimentation. For about a decade, this photographic practice has notably flourished in the pages of a series of publications exclusively containing images: the One of Hundred. It also often appears within the artist’s exhibitions, in conjunction with her sculptures.
