Edda Knott

by Katarina Kloppe

Things which are capable of rotting are exactly that at which we must look closer: skin, teeth, organs, flesh as well as the relationships we have with others. The body, a focal point of Edda’s work, is constantly re-explored, re-investigated and presented as an enigma which we cannot separate ourselves from. Discovery and investigation. Drawing and modeling. 

Edda works often with femininity, because it is a concept which is near to her. She works for a similar reason with childhood, because childhood is nearer to her than the next thirty years and because childhood experiences are more concrete than those of the future; a future which has yet to be written and feels even further away with how unsure the present feels. 

Edda’s works are seen and felt so viscerally by us exactly because they are near to these concepts. We feel close to them, because Edda is close to them. Bodies and body parts, images from our dreams, organs and the disgust they produce. We know them all, and we may even have developed some fear for them through our everyday lives. There they are lurking again, the teeth and this and that and something else. The grimacing, reflected back at us through her work,  could have come from any of us.