Esben Klemann versus Søren Thygesen
25 September - 1 November 2025
Exhibition opening 25 September from 16.00 to 19.00
The exhibition will be opened at 17.00 by Esben Klemann
Søren Thygesen and Esben Klemann cross paths in this joint exhibition at Peach Corner. Both examine the possibilities of construction in the creation of pieces in clay and ceramic concrete. Differences in the plasticity of the materials motivates them to conduct experiments that explore modelling and casting as each other’s opposites. In clay, the form emerges as a positive spatial entity, while casting requires a cavity – a negative form to act as a mould for the concrete. What drives the two artists is the poetry of allowing these differences to appear clearly and perhaps come together in the resulting expression.
In Esben Klemann’s work, the two paths often fuse into one. His modelling utilizes the malleability of the clay and includes deep, rhythmic movements into the mass – pure, simple construction; all aspects of meaning pushed aside. In ceramic concrete, by contrast, the form appears as a negative, either carved free-hand in polystyrene or moulded over a clay template. The textural qualities of the polystyrene are transferred to the new form and help define the expression. The effortless process of carving the block is also defined as a sort of tactile writing, which requires the maker to maintain control and keep the vision in focus while simultaneously allowing the free generation of form in relation to the casting material. The pieces reflect Klemann’s familiarity with the expression and the symbiosis that develops over time between the two approaches.
With practice, you can learn to decode tactile writing …
Søren Thygesen also alternates between materials and develops techniques through serial experiments, in which the form eschews immediate decoding. He carves seemingly weightless signs and expressions out of the polystyrene block and translates them into the language of heavy concrete. His pieces are often finished in a traditional ceramic process with glazed surfaces – in contrast to Klemann’s monochrome sculptures. Thygesen pursues the additional visual character glazes can bring. Some pieces are refined with silvery surfaces, others are given stark, weighty colours. He challenges conventional concepts of beauty and critically examines object categories by framing the sculptural figure, whether the result of free movement or in the form of a familiar object, such as a jug. The framing may both highlight the significance of the figure – hey, look at me! – and set it apart from its surroundings.
