ARTISTIC STATEMENT

December 2021

I have been working as an interdisciplinary and multidisciplinary artist since 2012.

Today I locate myself as a post-dadaist artist and close to a eco-feminism although I always try to escape categorizations and believe that my art speaks for itself.

My first artistic practice, the practice of photography (School of Artistic Photography in Vevey, Switzerland) brought me into Arts. Between 2009 and 2012 I started to work with other medias, video, performance, installation, drawings, sculpture within the Master HEAD Contemporary Art Practices. I started working with organic materials (salt, cheese, sunflowers, herbs, (see under work Erutan, Terra Madre) as well as I started to work with my visions and dreams I receive. The dreams, visions and the non-human actors (plants, water, animals) interrogate my art practice in a new semiotic way,  bring a new cosmological dimension into my consciousness which I express through my art work.  

I am an ally of all climate activists and all the people who suffer from colonization and capitalism today and support them in their empowerment.

I describe my current artistic position as "unlearning." Unlearning is not to be understood didactically, but rather as an inner, inward revolution in daily life that I express through my artistic work, reflecting back in my own culture in Switzerland and into the wider Euro-American public space in order to transform it. 


My artistic work currently revolves around the question of the separation of culture and nature that runs deep in Euro-American culture and capitalism. I interrogate the exctractive, colonial, predatory behaviors and practices (see my dissertation Unlearning For The Commons). In this context, I am interested in the question of spirituality where I critically challenge Euro-American religions, confessionalism, esoteric or new age approaches which are linked to forms of non-reciprocal capitalism and exploitation. As a consequence, I question the relationship of materiality and immateriality and how this dialectic interrelate within a cultural practice in daily life and interacts – can or cannot act as a potential for transformation of an object, person, culture, collective; but also as a medium itself.   
 

In particular, I am currently a guest on the land of Lenape Hopkings, ally to subaltern groups in Manahatta (aka NYC) and especially Native Americans in Manahatta. I am currently developing a reciprocal dialogue with Munsee and Lenni Lenape actors.