Interviews by Brainard Carey

A note: On the interview concerning the 3 channel video “Same as me” from 2002 shows an abbreviated day in the life of a total of 18 different versions of the artist. Only viewed three at a time, the possible variations are synchronized across time and space or arise in daydreams of elsewhere or other than. For Campbell, the process of making the video revealed the thesis of the work. “It was very challenging to learn how to reenact my self…. it was hard to keep up with myself.”

Beth Campbell, (USA, born in Illinois), demonstrates the inextricable entanglements of past, present, and future through her thought-provoking sculptures, installations, ceramics and works on paper. Equal parts humorous, prescient and morbid, Campbell confronts an overwhelming multiple future, culled from research on the philosophies that fueled the early internet and AI. Campbell is best recognized for her drawings and mobiles that draw from a specific moment in her life, multiplied into a profusion of speculative possibilities. The drawings, each titled with the opening line, “My potential future based on my present circumstances…”, mimic the form of a tree diagram, a graphic structure used to visualize probability and hierarchy. This diagram becomes Campbell’s means to channel anxieties about an overwhelmingly multiple future. She began to make these drawings about her life as an artist in New York City in the late 1990’s. In them, she suggests taking a moment to look both forward and backwards, taking into account actions and positions and the circumstances that led to them.

Beth Campbell earned her BFA from Truman State University in 1993 (Kirksville, MO) and her MFA from Ohio University in 1997 (Athens, OH). She has held over a dozen solo exhibitions at galleries and institutions, including The Aldrich Contemporary Art Museum, Ridgefield, CT (2017); Sculpture Center, Cleveland, OH (2010); “Following Room” at The Whitney Museum of American Art, New York, NY (2007); Kate Werble Gallery, New York, NY (2020, 2017, 2012); the Public Art Fund, New York, NY (2007); White Columns, New York, NY (2000); and Nicole Klagsbrun Gallery, New York, NY (2008, 2005, 2004). Her work has been shown at MoMA PS1, the New Museum of Contemporary Art, the Brooklyn Museum of Art, Artists Space, and the Bloomberg Financial Offices in Conjunction with Sculpture Center. Campbell has also been featured in exhibitions at the Carnegie Museum of Art, (Pittsburgh, PA); Manifesta 7 (Italy); The Andy Warhol Museum, (Pittsburgh, PA); Contemporary Arts Center, (Cincinnati, OH); OK Center, (Linz, AT); and EX3 Centre for Contemporary Art, (Florence, IT). She has a large commission permanently on view in the Landmarks program at the University of Texas at Austin (Austin, TX).

Campbell received a Guggenheim Fellowship (2011), a residency at John Michael Kohler Arts Center, Arts/Industry Residency (2010), a Louis Comfort Tiffany Fellowship (2009) a Pollock- Krasner Foundation Grant (2006) and a Rema Hort Mann Foundation Art Grant (2000). She currently lives and works in Brooklyn, NY.

Beth Campbell, My Potential Future Based on Present Circumstances (11/3/25), 2025 Pencil on paper 50 × 38 ½ inches (127.00 × 97.79 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography
Beth Campbell, There’s no such thing as a good decision (fawn), 2025 Powder coated steel rod and wire, enamel paint 40 × 40 × 33 inches (101.60 × 101.60 × 83.82 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography
Beth Campbell, lost socks, 2024 Tinted porcelain 2 ¼ × 6 ½ × 6 ¾ inches (5.72 × 16.51 × 17.15 cm) Courtesy of the artist and Kate Werble Gallery, New York Photo credit by Adam Reich photography

Clementine Keith Roach, 2020 Courtesy P·P·O·W, New York. Photo: Teddy Park
Clementine Keith-Roach (b. 1984) received a BA in Art History from University of Bristol, Bristol, UK and now lives and works in Dorset, UK.

She has exhibited at P·P·O·W, New York, NY; Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; Pervilion, Palermo, Italy and London, UK; The Herbert F. Johnson Museum of Art at Cornell University, Ithaca, NY; Wellcome Collection, London, UK; Kasmin, New York, NY; and Villa Lontana, Rome, Italy; among others.

She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach’s work was featured on the cover of Art in America’s September 2022 issue illustrating Glenn Adamson’s article Monuments for the Moment, which contextualizes her vessels alongside other influential sculptors including Baseera Khan, Julia Kunin, and Martin Puryear. She presented her first solo exhibition with P·P·O·W in 2024, and her fourth solo exhibition with Ben Hunter Gallery in 2025.

Clementine Keith-Roach, Eternal return, 2024 terracotta vessel, plaster, wood, steel, epoxy putty and acrylic paint 23 5/8 x 42 1/2 x 37 3/4 ins. 60 x 108 x 96 cm Courtesy of Clementine Keith-Roach; Ben Hunter Gallery, London; and P·P·O·W, New York Photo: Damian Griffiths
Clementine Keith-Roach, I is another, 2024 terracotta vessel, plaster and resin composite, wood, steel, epoxy putty and acrylic paint 20 1/2 x 58 1/4 x 29 7/8 ins. 52 x 148 x 76 cm Courtesy of Clementine Keith-Roach; Ben Hunter Gallery, London; and P·P·O·W, New York Photo: Damian Griffiths

Based in Brooklyn, NY (b. 1986, Taishan, China), Ye Zhu is an interdisciplinary artist focused on painting, public art, and social practice. He has presented solo exhibitions at DIMIN (2023) and Harkawik (2022) in New York, NY; at Moskowitz Bayse (2021) in Los Angeles, CA; and at the Andrew Freedman Home in the Bronx, NY (2022). His work has been included in group exhibitions at The Sugar Hill Museum in Harlem, NY (2022–23), Gavlak Gallery in Los Angeles (2023), Galerie Marguo in Paris, Harper’s (2023, 2021), and James Fuentes (2021) in New York. Over the past year (2024–25), he completed residencies at the Lower Manhattan Cultural Council (LMCC), Dieu Donné Workspace in Brooklyn, and Wave Hill in the Bronx. Zhu has created numerous public projects, including a tribute installation for healthcare workers at the Yale School of Medicine (2022), a billboard project with Kingsgate Project Space in London (2021), A Universe in Strafford, NH (2021), and CONSTELLATION on Governors Island (2021), featured in The New York Times. He is a founding member of Haven Arts Park (2020–2023), an initiative dedicated to transforming contaminated land into an art park, and was a recipient of the Andrew W. Mellon Foundation grant (2022–2023).

The Cosmos of Seeds, 144″ x 96″
Ego Decay, 96″ x 48″
Star Studded Snail, 42 x 39

Ron Norsworthy is an interdisciplinary artist whose broad practice engages the fields of art, architecture, filmmaking and design. Informing his work is a foundational belief that the rooms, spaces and environments we inhabit and interact with speak volumes not only about who we are now, but also about our dreams, aspirations and our struggles as well. Through the creation of collaged reliefs, decorative objects, textiles and installations, his work carries the viewer through a non-linear, layered story of his life, one shaped by his lived experience as a queer person of the global majority.

Norsworthy was born in South Bend, Indiana and currently lives and works in Connecticut and New Jersey, respectively. His work has been exhibited at the Studio Museum of Harlem, NY; The Old Stone House, Brooklyn, NY; Visual Arts Center of New Jersey, Summit, NJ; The Wassaic Project in Wassaic, NY; Five Points Gallery, Torrington, CT; Standard Space, Sharon, CT; Project for Empty Space, Newark, NJ; the International Quilt Museum, Lincoln, NE; the New York Historical Society, NYC; the Governor’s Island Art Fair, Governors Island, NY; the Armory Show, NY; Paris Photo; and it is also in the permanent collection of the Newark Museum of Art. In 2023, Norsworthy was awarded a MacDowell Fellowship in Visual Arts.

Ron Norsworthy, Do You Know What You’re Looking For?, 2025, Mixed media collage in relief on wood panel
Ron Norsworthy, More or Less, 2025, Mixed media collage in relief on wood panel
Ron Norsworthy, Trying to Remember the Future, 2025, Mixed media collage in relief on wood panel

Xanthe Burdett
Xanthe Burdett (b. 1995) is an artist from Devon currently living and working in London. Her practice is led by painting but also encompasses drawing and installation. She graduated from MA Painting at the Royal College of Art in 2024, and received her BA in Education, English and Drama at Cambridge University. Her work explores the relationship between the body and nature, questioning the notion of the body as nature itself. Through a personal mythology deeply rooted in place, Xanthe weaves bodies and stories into layered works where the boundary between the human and non-human shifts and stretches. Her pieces, which move between extreme scales, evoke a dynamic interplay as strange, otherworldly creatures emerge through the layers of glazing. Xanthe approaches her practice as a mesh, with her paintings existing within an interconnected web. One thread extends to the monumental hunting tapestries at the V&A, another to the way light dances across a fallen tree on the riverbank of her childhood.

Xanthe is a recipient of the De Laszlo Foundation Young Artist Award and has been shortlisted for the Jacksons Painting Prize. 

Xanthe Burdett, The Lily Pickers , 2025 Oil on linen 72⅞ x 55⅛ in (185.00 x 140.00 cm)
Xanthe Burdett, Voices caught in the earth , 2025 Oil on linen 13¾ x 11¾ in (35.00 x 30.00 cm)
Xanthe Burdett, Psychopomp, 2025 Oil on linen 28 x 42 Inches (71.12 x 106.68 cm)