Cantonale artists on their work – Noemi Eichenberger

My current artistic work explores the silent physiologies of the inner and outer worlds – the processes of life in which the body and nature mirror each other. In my work, I approach the movements of growth and decay in a poetic way, as if I were revolving around a cycle of becoming that can no longer be clearly located. A cell breath somewhere deep within the body; invisible processes that continue like a quiet pulsation. Structures twist and turn in the brain, nerve pathways intertwine, condensing into a sensory network that carries memories and sensations. Nature and plants, matter that has a breath of its own – as if it carried an inner thought within itself. Mind that takes shape; a brain that grows; an organic world that perpetuates itself. I am interested in this mysterious intertwining of matter and consciousness, in which boundaries blur and new forms emerge – fleeting configurations of constant change.

For me, the main limitations of my work arise primarily from the technical and logistical aspects of production. The dimensions and location of the kiln play a decisive role and have a significant influence on my working process. As my works are extremely fragile, I am particularly dependent on these conditions.
I have to think carefully about how I work, what sizes and shapes are feasible, and how the work can be transported and fired safely. These limitations are therefore not just external constraints, but also require careful consideration of how I work, what sizes and shapes are feasible, and how the work can be transported and fired safely. I have to carefully consider how I work, what sizes and shapes are feasible, and how the work can be safely transported and fired. These limitations are therefore not only external constraints, but also shape the decisions I make throughout the entire creative process.

In my artistic practice, I work exclusively with clay. This material allows me to directly translate movements and forms from my imagination and feelings. I appreciate the dialogical relationship with clay because the way I explore its materiality and flexibility always gives me feedback on what is possible – and what is not. Working with clay is a deeply physical process for me. My most important tools are my hands, supplemented by selected utensils from the world of ceramics. Sometimes, however, I also use everyday objects that intuitively seem appropriate and enrich the workflow in unexpected ways.

Noemi Eichenberger (born in 1986, lives and works in Biel)