Through her multifaceted practice, Rosemarie Trockel investigates questions that emerge from artistic processes as well as societal issues, one such example are her ceramics.

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dans la Rue, 2019
Ceramic, glazed, velvet, plastic foil
85 × 63 × 10 cm
33 1/2 × 24 7/8 × 4 inches

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Birthmark, 2019
Ceramic, glazed (two parts)
57 × 50 × 5 cm
22 3/8 × 19 3/4 × 2 inches

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother's Invention), 2020
Ceramic, glazed
71 × 57 × 6 cm
28 × 22 3/8 × 2 3/8 inches

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In this exhibition Rosemarie Trockel shows new and recent ceramic works, a previously unseen Cluster consisting of digitally reconfigured photographs, as well as two new variants of key themes and forms, including the debut of a series consisting of oil paintings based on her photographic images.

Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dans la Rue, 2019
Ceramic, glazed, velvet, plastic foil
85 × 63 × 10 cm
33 1/2 × 24 7/8 × 4 inches

Rosemarie Trockel
Dans la Rue, 2019
Ceramic, glazed, velvet, plastic foil
85 × 63 × 10 cm
33 1/2 × 24 7/8 × 4 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dans la Rue, 2019

Rosemarie Trockel
Dans la Rue, 2019

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dans la Rue, 2019 (detail)

Rosemarie Trockel
Dans la Rue, 2019 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dans la Rue, 2019 (detail)

Rosemarie Trockel
Dans la Rue, 2019 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Birthmark, 2019
Ceramic, glazed (two parts)
57 × 50 × 5 cm
22 3/8 × 19 3/4 × 2 inches

Rosemarie Trockel
Birthmark, 2019
Ceramic, glazed (two parts)
57 × 50 × 5 cm
22 3/8 × 19 3/4 × 2 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Birthmark, 2019 (detail)

Rosemarie Trockel
Birthmark, 2019 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Birthmark, 2019 (detail)

Rosemarie Trockel
Birthmark, 2019 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Birthmark, 2019 (scale image)

Rosemarie Trockel
Birthmark, 2019 (scale image)

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother's Invention), 2020
Ceramic, glazed
71 × 57 × 6 cm
28 × 22 3/8 × 2 3/8 inches

Rosemarie Trockel
Dry Milk (Mother's Invention), 2020
Ceramic, glazed
71 × 57 × 6 cm
28 × 22 3/8 × 2 3/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother's invention), 2020

Rosemarie Trockel
Dry Milk (Mother's invention), 2020

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother's invention), 2020

Rosemarie Trockel
Dry Milk (Mother's invention), 2020

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother“s invention), 2020

Rosemarie Trockel
Dry Milk (Mother“s invention), 2020

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother's invention), 2020

Rosemarie Trockel
Dry Milk (Mother's invention), 2020

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry Milk (Mother's Invention), 2020

Rosemarie Trockel
Dry Milk (Mother's Invention), 2020

Details
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In this exhibition Rosemarie Trockel shows new and recent ceramic works, a previously unseen Cluster consisting of digitally reconfigured photographs, as well as two new variants of key themes and forms, including the debut of a series consisting of oil paintings based on her photographic images.

The ceramics deny concrete descriptions and obvious interpretations. This is reinforced through the consistent use of matte white and absorbent paint in this exhibition that attempts to further impede possible associations. The titles of the works are also of great importance and open multifaceted interconnections between language and form. Some ceramics allude to organic shapes found in nature or resemble mirror-like objects while others are structured forms cast in mold reliefs.

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Challenge, 2020
Ceramic, sol-silicate-based paint
67 × 67 × 8 cm
26 3/8 × 26 3/8 × 3 1/8 inches

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry January, 2021
Ceramic, sol-silicate-based paint, acrylic paint
72 × 76 × 15 cm
28 3/8 × 30 × 6 inches

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Paris, 2021
Ceramic, sol-silicate-based paint, spraypaint
60 × 51 × 3 cm
23 5/8 × 20 × 1 1/8 inches

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Cage Doré, 2021
ceramic, sol-silicate-based paint, wooden painted frame, plexiglas
60 × 60 × 5 cm
23 5/8 × 23 5/8 × 2 inches

More views
Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Challenge, 2020
Ceramic, sol-silicate-based paint
67 × 67 × 8 cm
26 3/8 × 26 3/8 × 3 1/8 inches

Rosemarie Trockel
Challenge, 2020
Ceramic, sol-silicate-based paint
67 × 67 × 8 cm
26 3/8 × 26 3/8 × 3 1/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Challenge, 2020 (detail)

Rosemarie Trockel
Challenge, 2020 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Challenge, 2020 (detail)

Rosemarie Trockel
Challenge, 2020 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Challenge, 2020 (installation view)

Rosemarie Trockel
Challenge, 2020 (installation view)

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry January, 2021
Ceramic, sol-silicate-based paint, acrylic paint
72 × 76 × 15 cm
28 3/8 × 30 × 6 inches

Rosemarie Trockel
Dry January, 2021
Ceramic, sol-silicate-based paint, acrylic paint
72 × 76 × 15 cm
28 3/8 × 30 × 6 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry January, 2021 (detail)

Rosemarie Trockel
Dry January, 2021 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry January, 2021 (detail)

Rosemarie Trockel
Dry January, 2021 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dry January, 2021

Rosemarie Trockel
Dry January, 2021

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Paris, 2021
Ceramic, sol-silicate-based paint, spraypaint
60 × 51 × 3 cm
23 5/8 × 20 × 1 1/8 inches

Rosemarie Trockel
Paris, 2021
Ceramic, sol-silicate-based paint, spraypaint
60 × 51 × 3 cm
23 5/8 × 20 × 1 1/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Paris, 2021 (scale image)

Rosemarie Trockel
Paris, 2021 (scale image)

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Cage Doré, 2021
ceramic, sol-silicate-based paint, wooden painted frame, plexiglas
60 × 60 × 5 cm
23 5/8 × 23 5/8 × 2 inches

Rosemarie Trockel
Cage Doré, 2021
ceramic, sol-silicate-based paint, wooden painted frame, plexiglas
60 × 60 × 5 cm
23 5/8 × 23 5/8 × 2 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
2021 (detail)

Rosemarie Trockel
2021 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
2021 (detail)

Rosemarie Trockel
2021 (detail)

Details
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The ceramics deny concrete descriptions and obvious interpretations. This is reinforced through the consistent use of matte white and absorbent paint in this exhibition that attempts to further impede possible associations. The titles of the works are also of great importance and open multifaceted interconnections between language and form. Some ceramics allude to organic shapes found in nature or resemble mirror-like objects while others are structured forms cast in mold reliefs.

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Details
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1 of 3
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Rude Awakening, 2021
Oil on canvas
41,5 × 35,5 × 2 cm
55 × 50 × 2 cm
16 3/8 × 14 × 7/8 inches
16 3/8 × 14 × 7/8 inches

More views
Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Rude Awakening, 2021
Oil on canvas
41,5 × 35,5 × 2 cm
55 × 50 × 2 cm
16 3/8 × 14 × 7/8 inches
16 3/8 × 14 × 7/8 inches

Rosemarie Trockel
Rude Awakening, 2021
Oil on canvas
41,5 × 35,5 × 2 cm
55 × 50 × 2 cm
16 3/8 × 14 × 7/8 inches
16 3/8 × 14 × 7/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Rude Awakening, 2021 (detail)

Rosemarie Trockel
Rude Awakening, 2021 (detail)

Details
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Key themes and forms also appear in another new body of work of oil-on-canvas paintings – the first time images by the artist are executed by commercial painters. These interpretations of the artist’s imagery are then grouped into compositions, operating similarly to the Cluster series. Throughout the exhibition, motifs from the artist's oeuvre reoccur in different forms and materials. For example an existing wool painting now rendered as an oil-oil-canvas painting, or a motif from a pre-existing Cluster, now grouped in a small combination of prints.

 

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Queen Anne is Dead, 2021
Oil on canvas
45,5 × 50 × 2 cm
50 × 43 × 2 cm
179 1/8 × 19 3/4 × 7/8 inches
20 × 17 1/4 × 7/8 inches

More views
Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Queen Anne is Dead, 2021
Oil on canvas
45,5 × 50 × 2 cm
50 × 43 × 2 cm
179 1/8 × 19 3/4 × 7/8 inches
20 × 17 1/4 × 7/8 inches

Rosemarie Trockel
Queen Anne is Dead, 2021
Oil on canvas
45,5 × 50 × 2 cm
50 × 43 × 2 cm
179 1/8 × 19 3/4 × 7/8 inches
20 × 17 1/4 × 7/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Queen Anne is Dead, 2021 (detail)

Rosemarie Trockel
Queen Anne is Dead, 2021 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Queen Anne is Dead, 2021(installation view)

Rosemarie Trockel
Queen Anne is Dead, 2021(installation view)

Details
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Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Rush Hour, 2021
Oil on canvas
30 × 40 × 2 cm
45,5 × 45,5 × 2 cm
11 7/8 × 15 3/4 × 7/8 inches
18 × 18 × 7/8 inches

More views
Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Rush Hour, 2021
Oil on canvas
30 × 40 × 2 cm
45,5 × 45,5 × 2 cm
11 7/8 × 15 3/4 × 7/8 inches
18 × 18 × 7/8 inches

Rosemarie Trockel
Rush Hour, 2021
Oil on canvas
30 × 40 × 2 cm
45,5 × 45,5 × 2 cm
11 7/8 × 15 3/4 × 7/8 inches
18 × 18 × 7/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Rush Hour, 2021 (detail)

Rosemarie Trockel
Rush Hour, 2021 (detail)

Details
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Rosemarie Trockel – Why gravel, Ms. Smith? – London

 

In her large-scale Cluster series, Trockel revisits and samples several of her previous works from various times and contexts by making each grouping a unique work full of contradiction. CLUSTER VI: Door Ajar consists of 14 digitally reconfigured photographs including snapshots taken by the artist with her iPhone, a number of staged or digitally manipulated images as well as reconfigurations of her own works since the early 1980s.

 

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021
Digital prints on paper mounted on forex, metal frame
243.6 × 597.2 × 5 cm (framed)
96 × 235 1/8 × 2 inches (framed)

More views
Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021
Digital prints on paper mounted on forex, metal frame
243.6 × 597.2 × 5 cm (framed)
96 × 235 1/8 × 2 inches (framed)

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021
Digital prints on paper mounted on forex, metal frame
243.6 × 597.2 × 5 cm (framed)
96 × 235 1/8 × 2 inches (framed)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021 (detail)

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021 (detail)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021 (scale image)

Rosemarie Trockel
CLUSTER VI: Door Ajar, 2021 (scale image)

Details
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In front of Cluster VI: Door Ajar, the abstract sofa-sculpture Device (2015) is part of a body of work that takes inspiration from pieces of furniture like a sofa, bed or cabinet. A selection of prints and drawings are displayed on it, connecting the sculptural and print work of the artist. In some instances, the framed works overlap each other and parts of themselves. Too low to actually sit on, the sculpture hosts works from different periods of time.

 

Rosemarie Trockel – Why gravel, Ms. Smith? – London

 

A new variation of connections through sampling images and motifs is presented as a series of smaller, square prints framed in Plexiglass. They are grouped with single works in different frames in a brown painted room, taking its color scheme from the wooden floor in the gallery, thus creating an intimate cabinet-like atmosphere that might recall museum displays from the 19th century.

 

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Remember Uncle Andrew, the happiest Invention, 2019/2021
Digital print on paper, acrylic glass
58.7 × 60.7 × 2.3 cm
50.8 × 45.6 × 2.3 cm (framed)
23 × 24 × 1 inches
20 × 18 × 1 inches (framed)

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dreadnought, 2021
Digital print on paper, metal frame
50 × 50 cm
19 3/4 × 19 3/4 inches

More views
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Ducky, 2021
Digital print on paper, metal frame
45 × 40 cm
17 3/4 × 15 3/4 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Touché, 2021
Digital print on paper, metal frame
50 × 60 cm
19 3/4 × 23 5/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Changing Studio's, 2014
Digital print on paper, acrylic glass
60 × 60 × 1 cm (framed)
23 5/8 × 23 5/8 × 3/8 inches (framed)

More views

Emphasizing the serial approach of her practice, the compositions demonstrate how integral variations are within Trockel’s oeuvre which is fueled both materially and conceptually by a constant process of collecting, overwriting, and re-ordering. She regards the artwork as an unstable aggregate of form and concept, deploying this radical instability to dismantle a range of cultural categories, rules, and dogmas.

Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Remember Uncle Andrew, the happiest Invention, 2019/2021
Digital print on paper, acrylic glass
58.7 × 60.7 × 2.3 cm
50.8 × 45.6 × 2.3 cm (framed)
23 × 24 × 1 inches
20 × 18 × 1 inches (framed)

Rosemarie Trockel
Remember Uncle Andrew, the happiest Invention, 2019/2021
Digital print on paper, acrylic glass
58.7 × 60.7 × 2.3 cm
50.8 × 45.6 × 2.3 cm (framed)
23 × 24 × 1 inches
20 × 18 × 1 inches (framed)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Remember Uncle Andrew, the happiest Invention, 2021

Rosemarie Trockel
Remember Uncle Andrew, the happiest Invention, 2021

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dreadnought, 2021
Digital print on paper, metal frame
50 × 50 cm
19 3/4 × 19 3/4 inches

Rosemarie Trockel
Dreadnought, 2021
Digital print on paper, metal frame
50 × 50 cm
19 3/4 × 19 3/4 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Dreadnought, 2021 (scale image)

Rosemarie Trockel
Dreadnought, 2021 (scale image)

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Ducky, 2021
Digital print on paper, metal frame
45 × 40 cm
17 3/4 × 15 3/4 inches

Rosemarie Trockel
Ducky, 2021
Digital print on paper, metal frame
45 × 40 cm
17 3/4 × 15 3/4 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Touché, 2021
Digital print on paper, metal frame
50 × 60 cm
19 3/4 × 23 5/8 inches

Rosemarie Trockel
Touché, 2021
Digital print on paper, metal frame
50 × 60 cm
19 3/4 × 23 5/8 inches

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Changing Studio's, 2014
Digital print on paper, acrylic glass
60 × 60 × 1 cm (framed)
23 5/8 × 23 5/8 × 3/8 inches (framed)

Rosemarie Trockel
Changing Studio's, 2014
Digital print on paper, acrylic glass
60 × 60 × 1 cm (framed)
23 5/8 × 23 5/8 × 3/8 inches (framed)

Rosemarie Trockel – Why gravel, Ms. Smith? – London
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel
Changing Studio`s, 2014 (detail)

Rosemarie Trockel
Changing Studio`s, 2014 (detail)

Details
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Emphasizing the serial approach of her practice, the compositions demonstrate how integral variations are within Trockel’s oeuvre which is fueled both materially and conceptually by a constant process of collecting, overwriting, and re-ordering. She regards the artwork as an unstable aggregate of form and concept, deploying this radical instability to dismantle a range of cultural categories, rules, and dogmas.

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Details
Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Rosemarie Trockel – Why gravel, Ms. Smith? – London

Details
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