HYDRA SCULPTURE BY KATHARINA KAMINSKI

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HYDRA SCULPTURE
BY KATHARINA KAMINSKI

ON VIEW MAY 2026 AT STUDIOTWENTYSEVEN NEW YORK GALLERY

UNIQUE WORK
YEAR 2024

RED GLAZED CERAMIC

IN	H	13.7	W	19.6	D	17.7
CM	H	35	W	50	D	45

HAND SCULPTED IN FRANCE

BIOGRAPHY
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In Hydra, Kaminski gives shape to what resists definition, a body at once ancient and immediate, formed through gesture and an unspoken conversation between maker and material. Its deep, oxblood glaze pulses across rounded, swelling forms, a body that seems to have grown rather than been made, emerging from clay through instinct, gesture, and an intimate dialogue between the artist’s hands and the material. Multiple openings punctuate its surface, dark hollow thresholds that draw the eye inward, suggesting inner chambers, interior worlds, the quiet architecture of living things

Like the mythological creature for which it is named, Hydra is a meditation on multiplicity and resilience, the capacity to regenerate, to expand, to persist. Its limbs root it firmly to the earth while its voids open outward, holding space for the unknown. Kaminski invites us to consider what it means to carry many selves within a single body, to be at once grounded and boundless, sealed and porous

Hydra asks us to sit with the tension between containment and release, to recognize that our depths are not empty, but full of everything we have not yet named. In its rich, ferrous hue, we sense the heat of creation itself: the kiln, the body, the ancient and elemental forces that shape all living form. It is a work that does not simply occupy space, but inhabits it, a presence that reminds us of our own capacity to hold, to endure, and to transform

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Katharina Kaminski

Born Montevideo, uruguay, 1994

a Paris based artist born in Uruguay, Kaminski works in sculpture and installations. approaching her art practice as an exploration of the subconscious, kaminski’s work asks fundamental questions about who we are, contemplating what it means to have Both spirit and a body, a metaphysical existence in a physical world. Seeking to understand the origin of all life and the universality of human experience, kaminski employs a sculptural vocabulary that celebrates that dialectic of spirituality and embodiment, gravitates towards strangeness in form, and draws upon surrealism and abstraction to help us see the familiar anew. Following her intuition and the hidden language of dreams, Kaminski sculpts and molds against the norm imposed by reason and logic to find what lies beneath the apparent order of things

Kaminski works in ceramic, marble, and bronze, varying in scale and form. Interested in unexpected and shifting perspectives, her work employs elements of the zoomorphic, the amorphous, the alien, and the meteoric. A number of her sculptures integrate fire, giving this primordial element a container and a form within the body. Inspired by sanctuaries and with the intention of creating a sheltered space for emotion, Kaminski’s installations are composed with clay, space, sound, silence, light, and darkness. Her work invites us to moments of inner contemplation, to create our own sacred rituals that engender expansiveness and unity with both the seen and unseen world

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