Greta Hoheisel, On the occasion of the exhibition series `# 32 Die ersten Jahre der Professionalität ́,
Galerie der Künstler, Munich (2013)
In a world of control, the excrescent is seldomly allowed to express itself, but grows secretly beneath a smooth surface. Keiyona C. Stumpf’s drawings, sculptures and installations seem as if the protective layer had been peeled off by the artist. The objects look like inner organic matter that is now visually perceivable, and seem disturbingly familiar. The objects are not life- and motionless, but grow exuberantly - for instance in “Umwälzung” (2008) - over pedestals or - in “Metamorphosis” (2008) - attach themselves to static walls, floors and ceilings.
In this state of apparent growth, many forms seem to be creating themselves from within. Especially in works such as “Metamorphosis” or “Lustwandel” (2009), it seems as if the objects had a common archetype. They are constantly changing while at the same time staying close to their presumed origin. Typical to esthetical studies of forms, many pieces display symmetrical relations. However, the so called ideal shape and natural order is marked by subtle deviations. Thus, they turn out to be not just an external forming principle. The objects evoke the understanding of the symmetrical division as a pattern of evolution, growth and biological procreation; they remind us of chromosomes and genes. In Keiyona C. Stumpf’s works, transformation and expansion often are related to symmetry - as they are within nature.
Symmetry has always been a key aspect of beauty. Beauty resides within all of Keiyona C. Stumpf’s pieces, whether with or without obvious symmetry. The precisely sculpted objects are extremely fascinating and appeal to the tactile sense, but they can also fill you with horror. The organic, the internal and the unknown look like they were skinned or turned inside out.
The shiny surfaces, the “fleshy” forms - in “Omphalos” (2011) they look like umbilical cords - are barely held together by the glass dome. They evoke a feeling of distance and curiosity at the same time.
Momentums of the organically growing and the transformational can be found in the working process itself, as well as in the handling of the materials. Besides plaster and paper, the artist uses plastic and plastic foils, finds and ordinary waste; then she melts and morphs them. Various physical states are applied, transitions from solid to liquid, and back to the solid are tested. Keiyona C. Stumpf uses each material’s internal dynamics and aspects of fortuity to make her objects seem to be sprawling out continuously.