Buck's practice is decidedly anti-modernist working with assemblage, collage and reconfigurations of existing, mundane, often found materials; regularly reclaiming industrial or industrially produced components. Materials and objects with traces of an alternative history and existence - carpet, found posters, aged foam, latex, plastic are selected, re-imagined and combined to explore the limits of form, question notions of perception and re-interpret sculptural techniques and their art historical lineage.

Buck will often disrupt the encounter the viewer has with her work, carefully unsettling the physical experience or interaction with the work - hanging works at unusual heights or selecting work to sit uncomfortably together. Buck explores the works performativity and searches for what, in her words, simultaneously attracts and alienates the viewer, for work which raises questions rather than presents answers. Throughout her practice Buck presents delicate moments of uncertainty.

For Art Basel | Statements 41, Buck presented a context specific intervention. Prior to the fair opening Buck tiled the walls and floor of the booth in traditional ceramic tiles of a distinct colour. Once tiled, the original walls and floor were covered by a structure that echoed the original booth thus concealing the tiles and the artist's performative role. The cavity created between the tiled surface and the new wall and floor structure offered a subtly-altered, disconcerting encounter of the booth, whilst highlighting the fair context and the viewing experience. The altered booth also included a restricted number of new works that quietly bought attention to the concealed intervention. Buck's physical and conceptual intervention underlined her working practice and asked for the visitor's active physical, visual, conceptual engagement.

For her second exhibition at Rokeby and her first at the Hatton Wall gallery space, Buck continues her examination into the inherent instability of material, to search for what create a tremor, a noise, a mood, a situation, a conversation with its surroundings, with the viewer. Buck engages with unpredictable, external and uncontrollable influences, which activate her practice as she re-configures common, often found materials.

Bettina Buck (born 1974, Cologne) studied at the Academy of Media Arts, Cologne before completing an MA in Fine Art at Goldsmiths College, London. She was recently selected as one of twenty-five young artists for Art Cologne's New Positions. Recently she has exhibited in Proposal (Nacht und Träume) for Stavanger, curated by Vincent Honoré, and with Sara Barker in Bettina Buck invites at Mirko Mayer Gallery, Cologne.