
Throughout the work of Kaari Upson, the home and the body are persistent themes, from her earliest installations and sculptures from “The Larry Project” to her later series drawn from the contents of her childhood home. House to Body Shift explores how the late artist delved into the rich connections between our selves and our domestic surroundings, both physically and psychologically and across familial generations. As with artists such as Louise Bourgeois, Robert Gober and Paul McCarthy before her, the home in Upson’s practice becomes a surreal site of trauma, memory and intrigue.



The majority of Kaari Upson’s career has been devoted to a single, multifarious series titled The Larry Project, 2007–onward. ‘Larry’ is the fictitious name Upson assigned to her parents’ neighbour, whose possessions she salvaged when his house burned down. Larry’s large trove of personal mementos—which included photographs, journals, and pornography—became the raw material or reference for Upson’s paintings, installations, performances, and films. She originally hoped to explore his psychological state of mind, but quickly realised, ‘I was using him as a mirror back on myself.’ Though she hasn’t figured out ‘an exit strategy’ for the project, Upson recently began a new monumental series: Sleep with the Key (2013), is comprised of silicon replicas of discarded mattresses Upson finds in L.A.—a reference the artist’s recent experience being bedridden with illness.
Sprüth Magers has expanded from its roots in Cologne (Germany) to become an international gallery dedicated to exhibiting the very best in groundbreaking modern and contemporary art. With galleries located in Berlin Mitte, London’s Mayfair and the Miracle Mile in Los Angeles–as well as an office in Cologne and an outpost in Hong Kong–Sprüth Magers retains close ties with the studios and communities of the German and American artists who form the core of its roster.

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