The simplest way to understand the work of Ulli Knall is: try not to. When you start to get your head around Ulli’s theory, every theory on life you have falls apart — it’s disconcerting stuff. In 1997 Ulli started making “shape shifters” inspired by the Deep Space Nine character ODO, the alien whose true state is liquid matter but has morphed into a crew member complete with Lycra outfit. The sci-fi appeal of believing in aliens is popular because it is all one big fantasy where anything can happen.

Knall's work threads along much the same principle. Her shape shifters usually come in the form of immaculate, life size ceramic busts. The sculptures are based on friends, film stars, or notorious characters but all display the same particular hard, vacant gaze. Even when they are given hair or clothing, they do not have a straightforward human likeness: the eyes are the give away, making them look like android versions of “real” people. Individually the busts are quite threatening, the polished painted surface feels frosty and seven. This uniformity in their appearance makes it easier to relate to the concept, rather than seeing the sculptures as representations of people. The beauty is in their relationship to each other. Not only because it holds story, but it emphasises how fantasy belongs to everything not just a book or a film, but in an action or a memory.

Ulli presents the shape shifters in groups of three, always with a sentimental or emotional reason for them to be linked. The best example of her using the concept of the “shape shifter” is her Shape Shifter Charlie Chaplin who was most famous fictional representation of a human being.” Having invented his tramp persona, he existed more strongly within a role than real life which questions the human understanding to relate to things on the basis of what know. implying that if you don’t recognise something how Jo you judge its validity when confronted by it? Ulli poses the hypothesis that if an object is a shape shifter and therefore not actually what you see, it can seem possible to relate to it within a fictional entity. Once this is established it is up to the viewer to decide on what level you are experiencing them.
It just takes some lateral thinking.

Gemma de Cruz is a critic based in London.