Artistic Statement
December 2022
 
I have been working as a multidisciplinary artist since 2012. Currently, I am discovering my Celtic and Helvetic roots as a Swiss through family history and thanks to dreaming with my ancestors, with whom I am learning to communicate and other visionary dreams. Likewise, I am learning about the pendulum that my great-great-grandfather used in his profession as an architect when building houses to look for water veins. I am currently learning these practices and experimenting in my art practice. I am interested in connecting in the future with, for example, animals and trees in my own culture, dissolving the separation in practice. I work and live in the Swiss mountains. Beginning in 2023, I will be working regularly in New York City with the First Nation Community and the American Indian Community House in New York City in the area of reconciliation. Together we will initiate and execute artistic Sorry Book actions in public spaces in Manhattan for the next three years. I hereby especially thank the First Nation community in New York City for allowing me, through their culture, open attitude, and generous thinking, to develop as a human being and connect with nature, which has been interrupted, is a taboo in my own culture. In my artistic research, decolonial approaches as an art practice or in the field of social science research are the central theme, which I critically reflect on together with my First Nation partners in New York City.

My first artistic practice 20 years ago, the practice of photography (School of Photography Formation Supérieure, Vevey, Switzerland), led me to search for a more inclusive attitude, a non-extractive art practice, the practice of photography has a divisive structure, I felt for years an inner conflict and violence emanating from this practice.

I started working in 2009 with video works, first sculptures, and installations. I was also inspired by Bruno Latour about the European politics of separation in modernity and the issues of interconnectedness and reciprocity. These insights brought me into artistic research in 2016. I am a Ph.D. student in Studies in the Arts (SINTA) at the Institute of Social Anthropology at the University of Bern (a co-shared doctoral school with the HKB Art School of Bern) in Switzerland, where I learned to think about issues of wholeness in knowledge production and reciprocity and became more and more interested especially in the Western relationship between culture and nature and how this is experienced as a cultural practice. Several works have emerged from these insights in recent years: Take A Better Picture, Framing, Blow-Up Job, Re-Balancing, Unlearning, Ancient Future, Time Circle, and Wind Poems. 

Since 2019 I have been working with organic materials (salt, cheese, flowers, plants, coffee, etc. ) and also with my dreams. Visions help me to question matter and form in new ways and bring a new temporal dimension to my practice. The question of time has recently come to the forefront: linear and cyclical time and what this means in experience, which I explore through my artistic practice and as a Swiss woman who grew up in a culture that fabricates time. 
 
My artistic research in Manhattan NYC, in dialogue with the First Nation community, challenges the European materialist perspective and perception of the current climate crisis and the separation between culture and nature. I am currently launching the collective ERUTAN, whose goal is to bring together non-human and human actors and build a dialogue in which the spiritual ancient nature knowledge of indigenous peoples dialogues with the repressed European nature knowledge, Celtic culture.
 
I refer to my current phase as "relearning" and consider myself self-taught, an attitude that allows me to remain open to this kind of cultural creation.