The series of large-format paintings and drawings on laid paper is a visual exploration of the theme of organic growth and the complexity of natural structures. The works are inspired by the “mycelium”, the underground network of fungi that serves as a symbol of interconnectedness and transformation. Using ink and graphite, growing plant forms and the dynamic, flowing movements of nature are captured in abstract form.

The lines and structures speak of constant change and interaction between the elements of nature. Each work is a metaphor for the connections that exist in natural systems and the interlocking processes that involve both growth and decay.

Overall, this series invites the viewer to reflect on the invisible connections and the ceaseless unfolding of life - showing the beauty and complexity of growth, and how everything is interconnected, in the constant process of becoming and decaying.

Can you briefly introduce yourself and your artistic practice?

Even as a child, I wanted to be an artist, I have a child's drawing of me drawing at an easel in nature…. When my mother was pregnant with me, she had an irrepressible desire to eat paint and varnish.... that was probably predestined somehow. I also inherited my creative interest and the joy of creating from her!

But: to get to my current repertoire, I had to take many detours…

When I was 18, I failed the exam to qualify as an art teacher. So, I decided to go into journalism and worked for a long time as a TV editor. Then came a long family phase, and then I caught up with the art teacher.  Alongside my job, I organised my education as an artist myself. After a comprehensive portfolio study at the School of Design in Berne, I regularly received further training at art studios in Switzerland and abroad.

Parallel to journalistic work, family work, cultural mediation, teaching, and voluntary work, I have developed an independent artistic portfolio that I present regularly in numerous solo and group exhibitions in Switzerland and abroad.

So today I am a member of the professional association in Switzerland.

I like to experiment with combinations of digital technology and analogue practices, especially painting and printmaking. I’m specifically interested in the representation of the natural and built environment, and our relationship with nature. In my work, I am intensely concerned with the impact of human activity on the environment. With my work, I want to stimulate a dialogue about sustainability and ecological responsibility.

Can you tell me more about your fascination with the invisible connections and the ceaseless unfolding of life - showing the beauty and complexity of growth in your work? How do you visually represent these abstract concepts?

I see myself as an attentive observer, a mediator and a translator with a seismographic feel for the current issues of our time.

In my perception, art has the power to change us when it reflects the fears, insecurities and expectations of a society.

One of the great fears of our uncertain and fragile times is first and foremost concern for our planet. 2024 was the hottest year ever, and yet humanity denies and ignores the catastrophe, not wanting to give up consumption and prosperity. According to the so-called Doomsday Clock - a symbolic ‘doomsday clock’, 2025: humanity is closer to self-destruction than ever before. Originally created in 1947 by researchers Oppenheimer, Einstein and Rabinowitch, the Doomsday Clock - named after the Day of Judgement - shows how close mankind is to self-destruction in 2025. This year the clock moved one second closer - to 89 seconds before ‘midnight’. This is intended to emphasise to the public how great the current risk of a global catastrophe is.

In addition to a possible nuclear war, artificial intelligence and climate change are regarded as acute threats. Every movement towards midnight should be understood as a sign of an existential threat and an unmistakable warning.

If we fail and destroy the world, the Earth's ecosystem will belong to the fascinating organisms algae, fungi and lichens - creatures with low levels of organisation that already live in our ecosystem with millions of different species. They will reclaim the planet.

This realization fascinated me and I read a lot about these fascinating creatures. With all kinds of research and sketches, I approached the topic and worked on visual translations.

What motivated you to apply and participate in this online program? What were your initial goals and expectations?

In my art circles, in the professional association, with my art friends, I often feel lonely with the subject of my art. I have also found that it is almost impossible to place artistic positions on climate change at exhibitions or even to sell them - unless your name is Olafur Eliasson... In my environment, there is no support for art and climate change that I know of, no open calls. When I discovered the call for virtual residency, I knew: this is my chance!

What sparked your interest in mycelium, and how does this concept resonate with your artistic explorations of interconnectedness and transformation?

Climate change is an abstract and complex topic. In order to shake people up with art, a subject area must be found that - pars pro toto - touches people emotionally and appeals to them visually, while still symbolising the multiple crises caused by climate change.

The dystopia of a world without people but with fungi, lichens and algae motivated me to do some research on these creatures - by the way, according to the current state of scientific research, fungi are considered to be animals rather than plants.  In 2022, I produced my first literature research, sketches, prints and drawings. Since then, the subject has never let go of me.

When I was looking for a worthy topic for the six residency weeks, it was clear: the work on mushrooms was entering a new round.

Can you tell us more about the project you worked on during the program? What was the theme or focus, and the mediums used?

I continued to search for inspiring image material, using image processing to find photos from archives, scientific publications, and the internet. I processed photos and based them on a series of large-scale paintings with ink and pencil drawings on paper. The large format - 120 x 80cm was almost a physical work!

With this series, I have new artistic positions at my disposal to involve viewers in a stimulating dialogue about ecological responsibility in order to promote an awareness of the fundamental interdependence of all forms of life. In this context, I am looking for a visual language that allows me to present substantive positions with convincing aesthetic cornerstones; ideally, the aesthetic and substantive levels merge into my artistic self-image.

In addition, thanks to the work, I have made contact with a Swiss company that makes machines for the production of mycelium-based composite materials. We are working together on an art installation that can be presented at an exhibition on mushrooms in order to win people over to the beauty and potential of these creatures for our climate problems.

Can you share an example of how you and your fellow artists inspired or learned from each other during the collaborative process?

During the residency, I experienced an extremely inspiring discussion with other artists, such a valuable empowerment!

Above all, the content-related positions prepared by the residency management, as well as the individual discussions, enabled an in-depth exchange on content-related and formal issues. The exchange with the other residency participants also provided further valuable impulses for my artistic development - this in the online calls but also in the exchange on social media.

If you could give one piece of advice to future participants of this program, what would it be?

I would definitely take as much time as possible to be able to appreciate the numerous suggestions - including a lot of great specialist literature - and to be able to try out new things and not just continue on the same path as I already know. In addition, it was very helpful for me to create a mood board and a project documentation every week so that I could access it again later and develop the work further.

Find out more about the artist here.

See the immersive virtual exhibition here.

All images

2025 — Paintings on handmade paper, Drawings on graphite on handmade paper. All images courtesy of Denise Felber.