Katharina Kneip talks about her practice and the works:
During my artistic practice I developed an interest in seeing my work as an playful experiment. I´m following questions about time, space and self-perception in the situation surrounding us and in the same time paying the same attention to fictive elements, dreams and wishes like to all kind of existing theories. While the idea of different possibilities of flying away from ourselves, the actual situation or place became more important I started to focus on the experience of the body in relation to the mind. A significant part of my work is the interaction between the site and people, that take part in the situation that I create.
How is it possible to imagine an indescribable moment? Pure, overall chaos that doesn’t exist in distinction to so called order, but just as itself. Approaching to a cloud is trying to rethink and experience new ways of thinking and imagining. It wants to leave the linear and purposeful behavior of our thinking behind and is with this already foredoomed to fail – so the only chance is to become the moment that we want to think. A cloud shows the possibility of beginning and end without a border, it is directionless, it´s not homogeneous, but still at one point it is told: there is no cloud! If we are in a cloud – or maybe we would call it mist, whiteout or fog at that time, we are all of a sudden alone with ourself. We don’t know where and when it will end and with this, time and space become relative and empty words to us, because there is no orientation or point of reference left but ourself. By skipping ropes we define a three dimensional space in the air for a second with us floating in the center. It needs our attention and in the moment of jumping all muscles are tensed, after some time we are getting exhausted, we stop thinking productively and just jump. This moment is the chance to think as a cloud.
Katharina Kneip is a multidisciplinary artist based in Münster, Germany. Her practice centers on documented photo and video performance as well as experiential public installations that investigate place, time, and bodily space. She often incorporates found objects and takes herself as the subject.