Simone Kearney

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Simone Kearney

Simone Kearney

The saffron, the blur, the water, the wasp, the slope, the distant, the lugubrious, the violent, the wet, the impasse, the holy, the fruit, the hearing, the angels: burning, alive, knotted, jarring, provoking, deranged, bleeding, oblivious, succumbe

Photograph of: Figure/s III, 2023-24, Alabaster, honeycomb calcite limestone, pipe stone, 48” X 12” X 12” Photograph and lights by Hannah Whitaker for "Dim, Dahlia, Violet, Stone" (ITI Press, 2024)

"Telephone," 2021, clay, 9" X 9" X 9.5"

Installation view (i) of DIGS at Guest Gallery

Water Stone (xviii), 2024, watercolor on paper, 22” x 30” Photograph by Henry Chapman

Crier (XXI), 2022, Unfired clay , 15” X 10” X 7” Photograph by Joe DeNardo

Vessel (The book is a reflection that never arrives… there is no touching), 2025, soapstone, earth, pine pedestal, 34” X 11.5” X 11” (detail iii) Photograph by Arseny Pekurovsky

Song of Amergin (floating, outdoors), 2019, Acrylic, dye, muslin, rope, wood

The Mountain, A Kind of Owl Beside The Earth, Eye, The Water Moves, And The Lover’s, Too, Open And Here, Says: “A Change In The Surface So That I Can Understand” (Eye, Triangle), 2024, Marble, brick, unfired clay, shell, beach stone, sea glass,40”

Excerpt 3 from "Dim, Dahlia, Violet, Stone" (ITI Press, 2024) of Simone Kearney’s poetry and sculpture, with photographs by Hannah Whitaker and design by Elana Schlenker. Photographed: Eye/Bird, 2023-24, Alabaster, granite, wood, 55” X 14” X 8”, 20

Runes (Artist Book), 2024, 649 pages, Blue ink on blue paper, 38.5” X 13” X 8.5”with pedestal) Photo credit: Benjamin Koditschek

We Were Out At Sea And The Wind Was Getting Up And We Knew We Must Go Back To The Bay And The Wind Might Blow Us Home (Boat, Eye), 2024, Soapstone, beach stone, alabaster, 48.5” X 16” X 9.5”, (Detail ii)

Video still from projections created for performance of "Emilia Galotti's Colouring Book of Feelings," written by Sophie Seita and performed at Torn Page, Chelsea, NY, and projected as video at the Bargehouse, Oxo Tower in London in 2018. Installati

“Untitled,” stone fragments, dimensions variable, in “Runes” at Putty’s Coronation, Brooklyn, NY, 2024 Photo credit: Benjamin Koditschek

A Window Is A Logic Of Transparency, Unglazed ceramic sculpture, 13” X 13” X 13.5”, 2021, View II Photo credit: Krysta Brayer

Video still from projections created for performance of "Emilia Galotti's Colouring Book of Feelings," written by Sophie Seita and performed at Torn Page, Chelsea, NY, and projected as video at the Bargehouse, Oxo Tower in London in 2018. Installati

(What is it that unfolds as space, invisible?), 2025, Rhyolite, 6” x 5” x 2.5”

Purple stirred in the distance, light-vein on a cusp, 2025-26, Soapstone, earth, pine pedestal, 9” X 6” X 5”

Video still from multi-channel video projection and installation, “Eruigena’s Dream,” 2018, O’Connell House, Boston College, Chestnut Hill, MA

Installation view of “Runes” at Putty’s Coronation, 2024, Brooklyn, NY

The Horse Was Stuck Inside The Lake, And The Crow Rested On The Surface Of The Lake, And We Called The Men To Extract The Horse From The Lake, And The Crow Was Beautiful And Still, And We Called The Men Again (Horse, Crow), 2024, Soapstone, alabas

Video still from multi-channel video projection and installation, “Eruigena’s Dream,” 2018, O’Connell House, Boston College, Chestnut Hill, MA

Excerpt 2 from "Dim, Dahlia, Violet, Stone" (ITI Press, 2024) of Simone Kearney’s poetry and sculpture, with photographs by Hannah Whitaker and design by Elana Schlenker

Balloon (I) or Balloon Is Full Of Air. Air Is A Kind Of Nothing. Or It Is Not Nothing. 2021, Oil on Linen, 20 X 24, (detail)

"Metaxu" (Detail III) Glazed ceramic, nylon thread, nylon rope, wooden dowel, 2018

Installation view of “Favorite Stone,” 2-person show with Sophie Grant at My Pet Ram, New York, NY, 2026

Ghost (I) or If You Draw The Ghost Of A Ghost, Does The First UnGhosted Ghost Become Less Ghost And More Figure, More Of This World? And What Is It To Be Of This World?, 2021, Oil on Linen, 20 X 24

Photograph of: Figure/s IV, 2023-24, Marble, Alabaster, Granite, Crayon, 44.5” X 3” X 8” Photograph (with backdrop and lights) by Hannah Whitaker for "Dim, Dahlia, Violet, Stone" (ITI Press, 2024)

Knot, Head, 2020, Pastel on Paper, 9” X 12”

Stills from video, collage and text collaboration with Effy Xiaofu Wang, published in Precog Magazine, 2019

The Mountain, A Kind of Owl Beside The Earth, Eye, The Water Moves, And The Lover’s, Too, Open And Here, Says: “A Change In The Surface So That I Can Understand” (Eye, Triangle), 2024, Marble, brick, unfired clay, shell, beach stone, sea glass,40” X

Figure/s v, 2023-24, Marble, 68” X 14” X 8”

Installation view (i) of "Runes" at Putty's Coronation, 2024 Photo credit: Benjamin Koditschek

Installation view of “Favorite Stone,” at My Pet Ram, New York, NY, 2026

Photograph of: Subject/s I, 2023-24, Marble, Alabaster, Soapstone, Onyx, dimensions varied Photograph (with backdrop) by Hannah Whitaker for "Dim, Dahlia, Violet, Stone" (ITI Press, 2024)

Song of Amergin (Floating, No Support), Am torc ar gail/I Am A Strong Wild Boar , 2019, Acrylic, dye, muslin, map pins, 96” X 84”

Criers, Undercurrent Gallery, 2022 Photo Credit: Laura Zaveckaite

Hat (Riddle is everywhere/Because a grain shatters direction), 2025, soapstone, water, dimensions variable

Crier (XXIX), 2022, Fired and unfired clay, 14.5” X 10” X 10” Photo Credit: Joe DeNardo

Lisps a form, as little fingers, or glass in snow, 2025-26, Alabaster, earth, pine pedestal, .5” X 8” X 7”

That Moment When Things Are Not Absolutely Congealed, 2016, chalk, muslin, wood, 96" X 60" X 2.5" (overall dimensions)

House of Tears, 12” X 5” X 10”, Glazed ceramic and grout, 2021-22 Photo Credit: Krysta Brayer

Excerpt 1 from "Dim, Dahlia, Violet, Stone" (ITI Press, 2024) of Simone Kearney’s poetry and sculpture, with photographs by Hannah Whitaker and design by Elana Schlenker.

In The Thinnest Moments Of The Night I Sought Your Presence (I), 2023, weaving, dimensions 9” X 72”, detail

Video still from multi-channel video projection and installation, “Eruigena’s Dream,” 2018, O’Connell House, Boston College, Chestnut Hill, MA

From “Piehole,” 2017, ceramic, muslin, wood, etchings, installation at Lighthouse Works, Fisher’s Island, NY

Water Stone (v) , 2024, watercolor on paper, 22” x 30” Photo by Henry Chapman

Excerpt 2 from "Dim, Dahlia, Violet, Stone" (ITI Press, 2024) of Simone Kearney’s poetry and sculpture, with photographs by Hannah Whitaker and design by Elana Schlenker. Photographed: Fig

We Were Out At Sea And The Wind Was Getting Up And We Knew We Must Go Back To The Bay And The Wind Might Blow Us Home (Boat, Eye), 2024, Soapstone, beach stone, alabaster, 48.5” X 16” X 9.5”, (Detail i)

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(Torrents blow open a word), 2025, Ryholite, 5” x 3” x 2”

Installation view of “Favorite Stone,” 2-person show with Sophie Grant at My Pet Ram, New York, NY, 2026

Installation view of “Favorite Stone,” at My Pet Ram, New York, NY, 2026

The Angel of History (After Paul Klee), 2020, ink on paper, 9” X 12”

From “To Spell With Water” series (untitled i), 2025, Watercolor, 9” X 12”

Crier (XVII), 2022, Unfired clay, 8.5” X 10” X 9.5” Photo Credit: Joe DeNardo

"Metaxu", Glazed ceramic, nylon thread, nylon rope, wooden dowel, 9’ X 3’, 2018, (detail)

“Q–the Quidam, the unknown one–or I, is turning in a circle and keeps passing herself on her way around, her former self, her later self, and the trace of this passage is marked by a rhyme, a coded message for “I have been here before, I will return

Magnified Grain of Sand I, 2020, pastel on paper, 13” X 16” from installation of 20 pastels at Olympia Gallery in “In the Weeds”, New York, NY

Paint School Exhibition, presented by Shandaken Projects, Klaus Von Nichtssagend Gallery, New York, NY Song of Amergin (Floating with wooden support), Am Torc Ar Gail/I Am A Strong Wild Boar , 2019, Acrylic, dye, muslin, rope, wood, 120” X 96”

Trace, circumambulate, 2026, Alabaster, 4” X 4” X 1

“The Nest Is An Image of Primal Refuge,” 2018, weaving, 5’ X 9’, (detail)

The substance of yes, the substance of no, 2025, Alabaster, earth, pine pedestal, 5” X 4” X 1

“All Bodies Eat” in solo show “Piehole” at Lighthouse Works, Fishers Island, New York, NY, 2018

“Amok” at Artshack Gallery, 2022

“Mother Tongue,” 2020, ink on paper, 9” X 12”

“Dinner” (detail), in “Piehole,” 2017, ceramic, muslin, wood, etchings, installation at Lighthouse Works, Fisher’s Island, NY

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That The Body Is A Sheet Of Plain Glass Through Which The Soul Looks Straight And Clear (View 3), 2016, Muslin and wood, Variable Dimensions

Ghost (II) or If You Draw The Ghost Of A Ghost, Does The First UnGhosted Ghost Become Less Ghost And More Figure, More Of This World? And What Is It To Be Of This World?, 2021, Oil on Linen, 20 X 24

Artist book of “Amok” (Detail), collection of illustrations of each sculpture in the show paired with text composed for each sculpture, Hand-bound Limited Edition

Untitled, ceramic, 2017

Song of Amergin, Am Torc Ar Gail/I Am A Strong Wild Boar , 2019, Acrylic, dye, muslin, rope, wood, 18” X 20,” (detail)

Video still from projections created for performance of "Emilia Galotti's Colouring Book of Feelings," written by Sophie Seita and performed at Torn Page, Chelsea, NY, and projected as video at the Bargehouse, Oxo Tower in London in 2018. Installati

“Piehole,” 2017, ceramic, muslin, wood, etchings, installation at Lighthouse Works, Fisher’s Island, NY

Video still from projections created for performance of "Emilia Galotti's Colouring Book of Feelings," written by Sophie Seita and performed at Torn Page, Chelsea, NY, and projected as video at the Bargehouse, Oxo Tower in London in 2018. Installati

Song of Amergin (Floating), Am dér gréne/I Am A Flash of the Sun , 2019, Acrylic, dye, muslin, 96” X 84”

Desire Lines, Collaboration with Sophie Seita, Performance at Raven Row in London, 2019

Stone, 2020, pastel on paper, 13” X 16”

Eye/Open (Glass gets thick, thick) , 2025, alabaster, pine pedestal, 34” X 11.5” X 11”, (detail i) Photo by Arseny Pekurovsky

Balloon (I) or The Bird Is Flat But Full Of Song, 2021, Oil on Linen, 20 X 24

Props and sculpture created for performance of "Emilia Galotti's Colouring Book of Feelings," written by Sophie Seita and performed at Torn Page, Chelsea, NY, May 2018. Installation featuring sculptures and video projections by Simone Kearney

(Flecked as on the underbelly of a bird’s song), 2025, Alabaster, 4” x 6” x 2.5”

Detail from “Dinner,” Ceramic installation in “Sour Milk” installation in Greenwich, CT, 2018

Cloud, 2020, pastel on paper, 13” X 16” from installation of 20 pastels at Olympia Gallery in “In the Weeds”, New York, NY

Video still from "An Essay on Reading" performance, Bar Laika, Brooklyn, NY, 2018

“Every Body Crafts A Recognition Of Its Present Or Else Disappears,” 2018, cotton, thread, 10” X 16,” (detail)

To eat the placenta, 2016, Muslin, chalk, thread, Overall dimensions ~ 38” X 42”

Video still from projections created for performance of "Emilia Galotti's Colouring Book of Feelings," written by Sophie Seita and performed at Torn Page, Chelsea, NY, and projected as video at the Bargehouse, Oxo Tower in London in 2018. Installati

"Metaxu" (Detail V), 2018, Glazed ceramic, nylon thread, nylon rope, wooden dowel

From “Dinner” installation in solo exhibition “Piehole,” Lighthouse Works, 2018, NY

Detail from “Parts of Parts (#6) ,” 2018, dye and acrylic on muslin, 81 x 84 inches

“The Nest Is An Image of Primal Refuge,” 2018, weaving, 5’ X 9’. This weaving takes Gaston Bachelard’s description of the “nest” as an image of primal refuge in the human imagination as its point of departure. I wove a series of blue-violet nests (6

Selection of Criers at Olympia gallery in “Humor Has It” group show, 2021, New York, NY

Still from "Oval in Evening," video with poetry by Simone Kearney

Water Stone (xx), Watercolor on paper, 22 X 30, 2024, (detail)

Song of Amergin (Floating), Am dér gréne/I Am A Flash of the Sun , 2019, Acrylic, dye, muslin, (detail)

Bird I, 2023, Limestone, 28” X 4.5” X 32,” (detail)

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(In the fissure, the bird returns), 2025, Alabaster, 3” x 5” x .5”

“The Nest Is An Image of Primal Refuge,” 2018, weaving, 5’ X 9’, (detail)

“The Abject Is Simply A Frontier,” 2021, glazed ceramic, 3” X 10” X 10”

Figure/s II, 2023-24, Limestone, soapstone, marble, pipe stone, onyx, calcite, 57” X `4” X 24”, (detail)

(Distance that flowers in your hand), 2025, Marble, 5” x 4 x 1”

Shell (i), 2020, Pastel on paper, 13” X 16”