Cherry blossoms from various years at my house, 2017.
6 Shots at Eternity. Installation at Villa Renata, 2017. Photographer: Brigham Baker
6 Shots at Eternity, 2017. Villa Renata, Basel. Photographer: Meke Tam.
4 Shots at Eternity. Installation view at Sihlhalle, 2015
The exhibition "InSightSeeing" was held at I:project space, 2nd - 25th of Octobre 2014. It was a collaboration between myself and the Artist Peter Zhang 耶苏, who I met during my artist residency in Beijing. Peter and I each wrote an article about the other person's work in the show. Click here to read my English text on Peter Zhang's videos and here to read the very nice Chinese text Peter has written about my drawing on the wall and the installation with the chair in the middle.
Untitled, Chinese chopping knife, mangosteen peel, 30 x 12 x 6cm.
A17, 2014, Wooden chair, metal rod, chameleon car paint, 60 x 30 x 30 cm.
Untitled, dried durian fruit peel, gold pigment.
One of the many skylines of Beijing, Brush pen on paper, A3. Photographed outside in the courtyard of I:project space with the sunlight coming through Lao Han's wine leaves.
Exhibition poster by Annalena Müller.
End of the Rainbow
‘End of the Rainbow’ was set up on site during during a month long artist residency at ‘Die Weinhalde’ in Küsnacht, Switzerland in 2014. I placed a light-based installation in the empty outdoor pool in the garden. The area around the pool, I cordoned off with a thick hemp rope, so the visitor could not see inside the pool, unless he stepped over the rope (which was easy to be done). The white sign, which mimicked Irish town signs, reads ‘End of the Rainbow’. As the sky became darker, the moving golden reflections became visible.
Video of my installation, 23. February 2014
After sunset, around 5.30pm. Photographed by Karina Beumer.
View in Darkness, towards midnight. Photographed by Anja Zuberbühler.
Poster. Limited Edition of 50 prints, 297 x 420 mm (A3). The paper is hand-coated with acrylic gold paint and then printed over in black. If you are interested in purchasing one, write me an email. They are 40 Swiss Francs each.
art history illustrated
Here is a little sneak peak on my current project. A book containing all the 'must-sees' of art history according to my academic curriculum. It will be published this year at Amsel Verlag Zurich.
Tizian, Venus von Urbino, 1538, Öl auf Leinwand, Uffizien Florenz.
Can't remember..Nay maybe? Around 1950
Jean-Baptiste-Siméon Chardin, The Ray, 1728, Musée du Louvre Paris.
Robert Smithson, Spiral Jetty, 1950, Utah.
St. Ives is a small coastal town in the South-West of England. The light conditions there alternate between luminosity and gloominess which gives the place a mystic and enchanting atmosphere. When I visited St. Ives for the first time in 2008, I took a picture of what appeared to be an empty factory or storage building on Porthmeor beach. I found it fascinating that something like that existed right next to the Tate Museum and a popular local surfing spot. Ever since that visit, Porthmeor has lingered in the back of my mind. In the summer of 2012, my friend Helen Hagenbuch and I were looking for a temporary space where we could work together. So I suggested that we travel to St. Ives to see if we could enter that building and use it as a temporary space. It was Helens idea to sew a flag, which we intended to hoist on top of the building, once we were in it. That was our mission at the outset of this adventure. The journey on which this idea and the flag have taken us surprised and challenged us each day. We felt like the protagonists in our very own adventure game. And we were winning each and every day. It is hard to mediate this experience adequately through text or a website. The pictures shared here refer to some of the landmarks of our journey. Enjoy!
St. Ives in the morning
The factory building on Porthemore Beach, 2008.
Stitching the final parts of our flag together on the camping ground.
We needed some additonal camping gear and bails for the flag. The owner of the local shop, that sells pretty much anything you need, was very helpful and even let us use his private tool-garage. His name is Colin Nicholls. He is also the Councillor and Mayor of St. Ives. Thank you, Mr. Nicholls.
On our first attempt to enter the building, we found out that it wasn't empty. It has been used by artists already.
The entrance on the right lead to a fully equipped painting and drawing studio. We took a live drawing class there. The teacher told us, there was a private studio in the other part of the building, owned by an artist from Wales. We planned to go visit him the next day.
Meanwhile, we were experimenting with our newborn flag. Sail on human post Photograph by Helen Hagenbuch
Flag on human post Photograph by Helen Hagenbuch
Conquerors cape Photograph by Helen Hagenbuch
At night, we hung out with the locals.
The artist's name in the other part of the building is Sax Impey. Many years ago, he had the same idea as Helen and I. He entered the building and has been working in there since (with official permission). He let us in his studio for a chat and we took a look at his beautiful painted seascapes. Click on the link to visit his site: http://www.saximpey.com/
We explained what we were doing in St. Ives with our flag. We could not get on the roof, so Sax held our flag out of the window. Referencing the hoisting we had originally intended.
Sax with our flag.
We were happy!
Wet cape Photograph by Helen Hagenbuch
Tent with legs
On the hillside below the Castle of Wädenswil lies an arboretum. This arboretum is home to a collection of over one hundred exotic trees from all over the world. Until 1987, it was used for botanical research; thereafter,, it was meant to become a place for leisure and outdoor art installations. The people in charge of managing the arboretum, namely the association “Landart”, was seeking an artistic concept which would upgrade the park both as a landart site and as a place for visitors to enjoy nature. I noticed that a lot of trees in the park were not clearly labelled. The few existing tree tags featured the tree names only and were not common in style. Therefore, I submitted a concept for tags with detailed illustrations of the specific feature of each tree. I was commissioned to make 12 illustrated plates and was free to choose my drawing subjects. Each illustration is hand-drawn and consists of hundreds of dots of 0.1 mm diameter. The creation process is analogous to tattooing. The drawings were then scanned, printed on weatherproof foil, and mounted on aluminium plates. They were installed in the park for the exhibition "Unter Bäumen" in June 2012 and are now an enduring part of the arboretum.
Ilex pernyi. Lazerprint on foil, anodised alluminum plate, dowel, 105 x 148 mm. Installation View, Arboretum Wädenswil.
Liriodendron tulipifera, detail
Painting has been declared "dead" since the invention of photography and many times after that in history. As a reaction to that, artists have been challenging the notion of what a painting entails through a self-reflecting practice of painting throughout the 20th century. Especially when industrial paint like acrylics were adopted to artistic production, it stretched the possibilities of what could be done with that material (as opposed to oil). My paintwork follows that strand of thought. Instead of covering surfaces with paint to create either the illusion of an image or simply to colour in an area, my aim is to create works that fall somewhere in between. Paint as a material is used as an indicator of a potential painting, becomes the figure itself with no ground or serves as a skin to cover a classic painting on canvas.
Swallowed by the Great White, 2013, acrylic skin, canvas, glitter, board, 150 x 75 cm.
These are your options, 2009, mixed media, 529 x 460 mm.
Cliff on the Roof of the New Museum in New York Without Cigarette, 2010, Oilpaint, cardboard plate, soft cover book, 85 x 40cm.
Belle Mulan, colapsable acrylic tube, cloche, fimo, 30 x 10 x 10 cm.
Go home paint, you're drunk! 2013
Too Much of Not Enough
The two little black books presented on the table were created in consecutive order. The illustrations, collage and texts in Book 1 follow a string of reflections that I made towards the end of my studies at art school. In the first book, I reflected on the education I received, my opinions towards what I have learnt, on artistic practice and the insecurity that would follow graduation. Inside Book 2, the analytical process of the first book, which is asking more general questions, was reduced to the questioning of my sense of self, my self image and the image others may have of me. I photocopied a portrait of me (photographed by Goran Basic) and placed the copies onto the pages. Each picture underwent a form of manual manipulation and is accompanied by statements or juxtaposed with pencil drawings.
book 1 Ich brauche einen Rahmen - Wo siehst Du Dich selbst in 10 Jahren? (I need a frame - Where do you see yourself in 10 years?)
Skibrille ohne Glas (Skiing goggles with no glass)
Kontinuitä - (Continuit - )
Reflektieren (to reflect)
Das ist total wichtig - Das überhaupt nicht. (This is totally important - This totally isn't).
Ich kann mit der Freiheit nicht umgehen. (I cannot handle freedom).
book 2 Das bin ich nicht - Das schon eher. (This is not me - That's more me).
Unterbelichtet - Überbewertet. (Dim - Overrated).
Zeichnung von mir (Drawing of me)
Der Tod des Künstlers. Der Tod der Künstlerin. (The death of the artist).
24 digital inkjet photo prints, 150 x 150 mm. The work is based on the study of a family photo album from the 1960’s or 70’s. I picked it out of the private collection of Claudio Cavedon, who has archived over 2000 abandoned photo albums from charity shops, house clearings etc. I analysed the photographs as a means to tell stories and capture memories. The people in the pictures were strangers to me, I had no connection to the contents whatsoever.
I scanned some of the pictures, all of which were shot with a Kodak Instamatic camera, and removed the people from them in photoshop. I studied the emptied pictures, their mood, their composition. Then I started to take pictures in my everyday surroundings, trying to capture the mood of the empty pictures. I covered a part of my digital compact camera’s display with opaque tape in order to get the square cropping of the original instamatic format. All of my photos are snapshots. They were neither staged or altered in photoshop subsequently.
'Family Album' was exhibited in the independent Diploma Exhibition, which was taking place parallel to the official Diploma Exhibitions in the main building of the ZHDK (Zürich University of the Arts). The exhibition in the halls of the freight Yard (Güterbahnhof) in Zürich has been initiated by about 40 graduate students, myself included, from all departments of the ZHDK. Because the school refused to provide an adequate space for the graduate exhibition, we set up our own, non-profit/no-budget protest graduate show.