Clay Ketter’s work is characterized by an uncompromising hyperclarity, be it painting, sculpture, installation or photographic work. Although following an evolutionary path which appears to be completely logical, Ketter manages to take the viewer by surprise again and again, by a skillful combination of content and execution. His wry simplicity imbued with existential thematics allude to an ambivalent–while, at times, melacholic–acceptance of the banal. Owing in part to their matter-of-fact precision, Ketter’s purified forms have been recognised as challenging distinctions between craftsmanship and fine art, whilst an atmosphere of persistent absence permeates throughout, facilitating the simultaeneous illumination and refutation of these distinctions. His practice is arguably non-representational and may be paired with the logic of documentary, albeit warped. References to his own visual arts cultural heritage are unmistakable–the American Neo-Avant-Garde, Pop Art, Minimalism and Post-Minimalism–while these spectres are nevertheless rejected by the artist when sensing the slightest presence of any and all dogmatic stasis. Dislocated, exposed and dysfunctionalised, his objects and ”paintings” bend their industrially laden origins, highlighting the fissures deep within the fabric of apparent sociocultural adhesion.