Kim Simonsson

Kim Simonsson is a Finnish-Swedish sculptor who lives and works at Fiskars Village. His world of ceramic sculptures is inhabited by children and animals. Simonsson makes his sculptures by hand and sees himself primarily as an artisan. The sculptures reflect the artist’s fascination with creating illusions, in which material is forgotten, and reality becomes something else altogether.

Kim Simonsson

Kim Simonsson is a Finnish-Swedish sculptor who lives and works at Fiskars Village. His world of ceramic sculptures is inhabited by children and animals. Simonsson makes his sculptures by hand and sees himself primarily as an artisan. The sculptures reflect the artist’s fascination with creating illusions, in which material is forgotten, and reality becomes something else altogether.

An award-winning sculptor, Simonsson has held several solo exhibitions around the world, from New York to Paris and Berlin. His work has been showcased at international art fairs, including Design Miami/, Design Miami/ Basel, Art Paris, and The Armory Show in New York. Simonsson’s work is exhibited in renowned museums, such as the Victoria & Albert Museum, Racine Art Museum, Kiasma Museum of Contemporary Art, and Amos Rex.

Simonsson’s recent series of ceramics, Moss People, illustrates a time when a community has broken apart to a degree. Simonsson’s sculptures portray children who believe they can cope without the support of their community, but have often set their hopes too high. He narrates from the outside, like an impartial documentarian capturing what he sees.

The name Moss People refers to the children’s sensible camouflage; the moss green figures blend perfectly into their surroundings. The world created by Simonsson is a comprehensive artwork that spans from one year to the next, progressing, diversifying and growing steadily. The artworks can be assembled into various compilations depending on the space.

It is impossible to know how the Moss People community came about. Initially, the gang of children had strong norms and social hierarchies of their own presiding in the community. Whether animal adults influenced them a great deal, or the children grew up without any peer support remains unknown. Similarly, why the community dissolved and the members gradually went off by themselves remains a mystery.

“The plasticity and endless possibilities of clay interest me immensely. I like to tell stories with my hands.”

Shop: Kim Simonsson’s Work

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