In my work Testimoni Zeugen Testigos (Witnesses), I explore space and time, lived history and its layers. The starting point is my childhood home - the centre of life for generations for over 100 years - to which I return after 40 years, before its demolition. The plants surrounding the house grow, overgrow, conceal and open up spaces of memory, becoming the memory of being. They connect people, things and times and outlast decades, their ramifications reaching far and wide, as far as to Italy and Spain. But people come and go. Plants collected on site, dried and photographed in further processes, become carriers of memory - and an archive that can be accessed from now on.

Fine Art Prints on Hahnemühle Photo Rag® Ultra Smooth, 305 gms, 100% Cotton, white, 60 x 90 cm, walls 60 x 40, on alu,
Triptychon: 45 x 30 cm

Solothurner Zeitung

TESTIMONI  ZEUGEN. TESTIGOS
_957_Independent_Art_Magazine #140
Lucerne, 2022 

In my work Testimoni Zeugen Testigos (Witnesses), I explore space and time, lived history and its layers. The starting point is my childhood home - the centre of life for generations for over 100 years - to which I return after 40 years, before its demolition. The plants surrounding the house grow, overgrow, conceal and open up spaces of memory, becoming the memory of being. They connect people, things and times and outlast decades, their ramifications reaching far and wide, as far as to Italy and Spain. But people come and go. Plants collected on site, dried and photographed in further processes, become carriers of memory - and an archive that can be accessed from now on.

View From The Children's Room, 60 x 90 cm, on alu,
Herbarium/Plants (selection of 20): 30 x 20 cm : Fine Art Prints on Hahnemühle Photo Rag® Ultra Smooth, 305 gms, 100% Cotton, white, under UV 70 Glas or 90 x 60 cm, on alu. 

Solothurner Zeitung

We all have a self-image of ourselves. However, how we see ourselves or how others see us is often very different. I personally assume that people are made up of layers of imposed appearances. In my portrait photography, I always try to reveal the unconsciously imposed masks or layers. - For this project I portrayed the team members of the Zurich's Museum Haus Konstruktiv between 2019 and 2021, regardless of their professional roles. For this specific work I decided to choose the Polaroid SX-70 camera, which was manufactured in the 1970s and was the first instant SLR camera to work with integral film. At that time a most fast medium in contrast to our days.

The photographed plants, or rather their shadows, can be found in the oldest botanical garden of France (1593), in Montpellier. Inspired by Antoine Gouan's work (Hortus regius monspeliensis, 1762) and Carl von Linné's systematic school of plants (Systema Naturae, 1735), I selected individual plants and photographed only their shadows, detached from their respective bodies. The shade plants are named after their scientific names, just as the shade-casting plants were labelled. In a further step, I multiplied some of these, reforested them and subsequently also created groups of trees and forests.
(Colour photography)
(Selection)

2020 NoA Gallery, Lucerne

1 Fraxinus ornus L. (Esche)
2 Butia capitata L. (Geleepalme)
3 Celtis australis L. (Europäischer Zürgelbaum)
4 Aesculus hippposcastanum L. (Rosskastanie)
5 Avgave americana L. (Amerikanische Agave)
6 Exhibition Berne (2019)
7 Laurus nobilis L. (Echter Lorbeer)
8 Butia capitata L. (Geleepalme)
9 Tetradium hupehensis (Bienenbaum)

Get up close to see.
Look at the back to understand.
(Susanna Tamaro)

In closer, a work consisting of two series, Ursula Müller examines viewing habits and thought patterns.  In a subtle way, she forces
exhibition visitors to take a closer look at things.
In her photographs, she uses fruit and vegetables from everyday culinary life, presenting them in a peeled state and thus leading the gaze inwards - the hidden becomes visible.
Her fabric series also require a precise look. She only shows the reverse sides of fabrics, embroidered with flora, which are not recognisable as such from a distance. This only becomes apparent to us on closer inspection.


S11 Künstlerhaus
Solothurn, 2018

‘If this house would be able to talk:
many things would come to light’.
(From Greek mythology:
tower guard of the castle of Argos,
residence of King Agamemnon)

Five apartment blocks
79 apartments
1952 - 2017

Langendorfstrasse 48, 4500 Solothurn, CH
Langendorfstrasse 46, 4500 Solothurn, CH
Geissfluhstrasse      5, 4500 Solothurn, CH
Geissfluhstrasse      8, 4500 Solothurn, CH
Geissfluhstrasse    10, 4500 Solothurn, CH




Kantonale Jahresausstellung Kanton Solothurn, 2017
Kunstmuseum Olten

Fragile Existence




















Kantonale Jahresausstellung Kanton Solothurn, 2016
Kunstmuseum Solothurn

In Transition

Once a year from 2006 to 2013, I took portraits of nine girls and boys in their too-short clothes from the previous year and in clothes that matched their current size. The clothes remained the same, but the young people grew out of them, and not just in a physical sense.










Group Show ZEIT VERSTREICHEN,
Kunstmuseum Solothurn, 2016

It Is So Quiet

I never knew Hertha Ochsner-Schriebl. She was the mother of my former neighbour. I may have seen her four or five times, in passing, her grey hair pinned up, on the way to visit her daughter. She immigrated as a young woman from Austria to Eastern Switzerland after the end of the 2nd World War and spent the last 45 years at home in Speicher AR, running a household and hardware shop, until shortly before her death at the age of 81. And yet I still was lucky enough after all to get to know her, in a very special way; through her house, the rooms she lived in, the things she used, the clothes she wore, the traces she left behind in her actions…
Group Show ZEIT VERSTREICHEN,
Kunstmuseum Solothurn, 2016
Exhibition Video ZEIT VERSTREICHEN/Swisslos (L)