"Fiction becomes a way to approach the truth and the most intimate emotions."

Language, psychoanalysis, sociopolitical constructions of gender and identity are at the heart of Charlotte Colberts practice. Spanning film, photography, ceramic and sculpture, she questions narrative structures and storytelling, weaving surreal and fantastical mise en scene in a documenta- ian approach to character figures and people. Fiction becomes a way to approach the truth and the most intimate emotions.

Colbert has been described as a surrealist maker of breathing sculptures. Her anthropomorphic, moving image sculptures comprise multiple TV screens built into corten steel apparatus, examining the relationship between technology and the human body. They have been described as 'contem- prary mobiles' by AnotherMagazine, 'cyborgian post apolyptic and tender with a soothing sense of a familial and palpable human presence, fascinating, hypnotic and intimate.'

Colberts 170kg, 11 screen, 21st century reinterpretation of Lucian Freuds iconic 1995 painting 'Benefit Supervisor Sleeping' of Sue Tilley, was built to invert the male gaze in which it was originally depicted through. 'I like the idea of turning the tables and subverting the male gaze. Sue is now looking at us.' (Colbert in conversation with Art Daily)

Colberts recent ceramic series continues the play with the inversion and subversion of the inside and the outside. Bodily functions and reproductive organs are reimagined through baby pink lacquered and flocked ceramic sculptures of viral cells, breasts and stomachs. In works like Motherhood (2018), Yoni (2018) and Fallopia (2019), female reproductive organs are reimagined under a soft pink hue, as Colbert strikes a material dialogue which shifts our perception of our own physicality and DNA.