Cornelia Hediger, ‘In Memory of Chancie’, 2016, KLOMPCHING GALLERY

This is a hand-made photo-collage, in an edition of 2+1AP with variations. The Artist Proof is Retained By The Artist (RTA).

An editioned version—a re-photographed copy—is also available as follows: 17.5" x 17.5" image on 20" x 16" sheet, Gelatin Silver, 15+3AP, starting at $2,500 (price increases as edition sells).

Made between 2014–2016, the series is inspired by the likes of Hannah Höch, John Heartfield and Grete Stern among others. The photographs are constructed out of a combination of pigment and gelatin silver prints, with imagery originating from various sources including the artist’s studio practice, and scans of wallpaper, paint and cardboard. These are combined with recent photographs of travels in Europe, the patriarchal home in Switzerland and other family artifacts.

The hand of the artist is up front and center across the Puppenhaus series—pencil marks, irregular cuts left exposed, paint, hanging string, and individual elements attached in low relief, which together draw attention to the unusual focal planes, angles of view and shifts in scale. All of this combines perfectly with the seemingly whimsical narratives that take the viewer on a journey through the artist’s fictionalized world. The use of self-portraiture prevails, linking this series back to the previous Doppelgänger work. We see ‘Cornelia’s’ having tea, balancing cups, acting out in odd domestic spaces and going on journeys. In one piece, reminiscent of the 19th Century Spencer y Cia ‘Chilean Ladies’, we see 100 heads—all of the artist—receding back into the distance. Hediger has created theatrical scenes, as if on a stage, images which are extraordinary and which pull you right into their three-dimensional space.

Signature: Signed, dated, titled, numbered on verso in pencil.

AIPAD Photography Show, with Klompching Gallery, April 2016
Klompching Gallery, June 1–July 9, 2016

Direct from the artist.

About Cornelia Hediger

Though photographer Cornelia Hediger describes herself as private, she mines her own life for her work, as she explains: “I use photography as a visual diary. The inspirations are drawn from my own life.” Both creator and subject of her work, Hediger thinks of herself as a performer who enacts her own internal dialog in front of her camera. By staging ambiguous, impressionistic scenes, she deliberately allows room for interpretation, effectively balancing the personal with a more universal experience of the self.

b. 1967, Zurich, Switzerland