Support/Structure
This two-person exhibition develops a dialogue between the work of Bristol-based artists Mary Flower and Vera Boele-Keimer.
Support/Structure
KIT FORM, Bristol
16/07/2026 -19.7.2026
Preview: 16th July, 18:00 - 20:30
Vera Boele-Keimer and Mary Flower
This two-person exhibition develops a dialogue between the work of Bristol-based artists Mary Flower and Vera Boele-Keimer. Both share a fascination with the “vital materiality” of grids which they use as metaphorical and physical support structure in their works. Whilst Vera’s work focuses on the grid as a methodical principle of woven fabric, Mary pushes the implied stability of grids to breaking point in her sculptural practice. The resulting exhibition combines ceramics, moving image with works on paper and painting, interrogating the grid’s capacity to move, become undone and hold together
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Vera Boele-Keimer is an artist and lecturer based in Bristol. Her work is an ongoing inquiry into the ontology of painting. Working on fabric, paper or found material, she is interested in confounding the binary roles of support and surface.
Working on unstretched canvas allows her to use it as a “pliable plane” (Anni Albers), shifting our perception of painting from two to three dimensions. The undulating surface recreates the movement of a weft as it goes over and under the warp threads. Grids are presented as inherent in the fabric as their structural logic, as well as metaphorical matrixes, offering possibilities for exploration of pattern and variation. Paint is no longer a material to create “pictures”, it serves to represent, stabilise or materialise the underlying structure.
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Mary Flower is a visual artist and lecturer whose practice often involves a process of observing site or specific objects to which she responds by making sculpture and video. A deep consideration for relationship is at the core of her work; place and object are a catalyst for investigating material, meaning and language. The grid is a visual language often present within Flower’s practice. For Support Structure she uses it to consider ideas around disruption of stable structures, surface and repetition within labour. Her interest lies in the moment where the grid’s hold slips - the points of tension between two places where repetition breaks down or is interrupted, allowing for movement and a revealing of further possibilities.
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KIT FORM is over one level with an accessible toilet
