Born on Christmas Eve 1971 in the east of France, Rachel Kah fell in love with ballet at a very young age. In 1987, she received the gold medal for classical dance at the Conservatoire National de Strasbourg and went on to work in Marseille at the school of the great teacher and choreographer Roland Petit. She very soon joined his company. A twist of fate ended her career and she would not dance again.
As she could no longer express herself through her body, her eyes and hands took over.

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She registered at the École nationale supérieure d'architecture in Marseille. She received her degree in architecture (DPLG) in style and her work was noticed by world-famous architect Rodolphe Luscher, who asked her to work with him at his studio in Lausanne. There, she became an architectural and town planning project manager. At the same time, she developed exhibitions at Far (Forum d'Architectures Lausanne) and ETHZ (Institut Fédéral de Technologie de Zürich).   

 

Simultaneously, Rachel Kah produced more and more paintings and sculptures, until she ended up devoting herself completely to this work.
She mainly works with sand as well as with raw materials such as concrete, zinc, steel, rust and ash. She has always preferred to work with materials that are living, restrictive, powerful, brutal, that bear the signs of their former lives, in which she sees only the grace and delicateness of the touch of time. 
 

The artist creates abstract works that are simultaneously coarse and airy with little colour. Seeking balance between marks, scars and impressions. Capturing a tame violence. 
She tends to sketch perfection in a transient and intangible state that is nonetheless bound to perpetual incompletion. The intention to move is imperative. Materials are brought together roughly. Marks interfere. A fleeting moment freezes.

 

She also gives life or rather intent to sculptures that are threadlike, graceful, imperfect and ethereal.
Her mind sees, but knows nothing. Her body knows - or thinks it knows - and her hands become its tool, almost in spite of her. She sculpts the wounds and secret vulnerability of beings, obsessively, incessantly, hopelessly creating "the lonely man" between her fingers.