In her work, Kate Clements explores the ambiguity of fashion--its capacity for imitation and distinction, its juxtaposition of the artificial and the natural. She sees the life cycle of fashion as a process of creative destruction by which the "new" replaces the "old," yet nothing is truly new. By the time a new style has been produced for mass consumption, it has been cast aside or even rejected by elite society as a bi-product of class division. Clements' choice of materials acknowledges and embraces ideas of imitation. Glass represents a counterfeit to jewels; wood vinyl covering cheap plywood creates the illusion of solid oak. Cut outs suggest the absence of an object that is no longer there, present only through its trace. These imitations and absences act as a veil of protection that is ultimately removed when the viewer discovers what attracts them to the work are deficiencies.
This Philadelphia-based ensemble is devoted primarily to great literature of the string quartet. The name Liebesfreud, meaning "Love's Joy," is actually best known as that of a heartfelt piece by beloved violinist Fritz Kreisler.