Kira Freije United Kingdom, b. 1985

Freije’s artistic focus is centred around linking the process of sculpture making and the relationship of the materials to the rhythm and mood of poetry. Within her work she incorporates familiar, thought-provoking images and motifs: the couple, the devout prayer, the family. She interweaves many themes ranging from filial dynamics to religious faith to romantic experiences. Even while the artist uses industrial, physically ‘hard’ materials, such as steel and aluminium, the subjects are poignant and intimate, depicting such scenes as an arguing couple (Leadership and Protection) or kneeling figure (Beneath the Higher Worlds).

This spiritual, emotive element to Freije’s work comes from the artist’s own interest in the aesthetics of the Middle Ages. A key feature is the blown glass within the steel frame, which allows the material to bulge through (as seen in Signals), which could be compared to elements of Medieval architecture, candelabrums, and other spiritual memorabilia. The form of the shield or coat of arms is also often seen within Freije’s metalwork, with the circular rings of steel which form the humanoid figures eerily reminiscent of the gibbet, a medieval cage for hanging criminals as a form of torture or punishment. Comparisons could be made here to Kiki Smith’s mid-1990s figurines of Mary Magdalene and the Virgin Mary, where the mental suffering and tribulations of these religious characters is visually depicted through the additions of chains, a hair suit or flayed skin.

An Artforum review of her recent show at The Approach commented: “oscillating between elation and trepidation, Freije’s humanoid forms revel in the kind of emotional ambiguity often found in medieval apocalypticism.” The apocalyptic theme is evident; humanoid figures reach out in various scenes of distress; decapitated metal feet are fused with natural wood like the debris of some dystopian future. The strange amalgamation of human and machine is a constant theme throughout Freije’s work, reminding the viewer of sci-fi movies such as Ex Machina or Terminator where humanity is both aided and threatened by technology which gradually takes over basic human function. In Freije’s most recent solo show, meteorites at The Approach in London, the apocalyptic theme was particularly strong as the show included kneeling and collapsed figures surrounded by dangling lamps and other light sources, all creating the sense of an ominous power which impends on humanity from above.

A sense of ritualistic theatre is important in the display and symbolism of Freije’s work. Similar to ceramic artist Jonathan Baldock, who uses casts of his own body to create pieces which strongly resemble relics and mummification, the performative nature of spiritualism and religion is evoked throughout Freije’s pieces. Her human figures, which are often life-sized, are also usually based on real-life models. Poetry is an additional core element and inspiration for the artist. For Freije’s solo show at Liste (September 2021), which was displayed in Basel by Gianni Manhattan, writer and poet Vanessa Onwuemezi wrote the poem BE OVERCOME in direct response to the show. Freije had previously collaborated with Onwuemezi on the exhibition text for her 2019 solo show Mouthing the living, undetected, on breeze or breath at Soft Opening in London.

After graduating from the Ruskin School of Drawing and Fine Art at the University of Oxford in 2011, Freije worked with local blacksmiths in Sussex, acquiring the metalwork and soldering skills which have since informed her oeuvre. Freije subsequently completed a masters at Royal Academy of Arts, London, which now houses one of her works in their collection.