My work revolves around questions of comfort in a context that includes us all: that of domestic and inhabited space.
This space is primarily there to protect us architecturally, socially and mentally. It is a safe and constant place. But from its floor plan onwards, no home is ever neutral, whether in its distribution of rooms, roles, identities, classes, expectations or in the interweaving of our public and private spheres. This distribution and its occupation can end up suffocating and become deeply uncomfortable, contrary to their initial hope.
I like to reveal this ambivalence/ambiguity of the so-called home and create analogies between interior spaces and states of the body and mind. For I feel the intimate and the interior to be so close and so different at the same time.
To do this, I invite my practice into existing structures and narratives, into the déjà-vu of popular culture (so many interiors visited a thousand times before), and then subvert the formal and conceptual language of objects, furniture and materials of the domestic sphere.
Bed linen, interior decoration and everyday objects are used as a medium in their own right and are constantly reappearing in my work. I recover materials and objects that have already existed; that are already potentially full of history and have probably already occupied a space, elsewhere, at another time. In addition to the primary utility of these objects and materials, which is to facilitate our daily lives, their design gives the illusion of harmony between our consciousness and our space. Through its omnipresence in our daily lives, furniture also takes on our memories, emotions and feelings, both good and bad. Once they become intimate, their emotional value exceeds their material and aesthetic value. A closer look reveals complex constructions in which moods, social power structures and the fabrication of attachment are manifested.
Through reapproptiation, transformation or assemblage, my works become strange creatures, absurd objects or dreamlike landscapes. Once installed on the wall or the floor, these resculpted objects are altars of waking dreams, of taking back control of everyday life, of our ability to break the limits of the space we have chosen to occupy or that is imposed on us.
Andrea Cindy Raemy (*1980 Fribourg CH) is a visual artist based in Bern. She questions comfort in the domestic context and examines the effects that given settings can have on someone. To do this, she transforms everyday materials into bizarre objects, and creates analogies between the home and the state of body and mind. Her intention is to reveal the ambiguity/ambivalence of the so-called home and thus create the possibility for change.
Her works have last been shown at Cantonale 22: Pasquart, Biel/Bienne + La Nef, St-Ursanne (2022); WallStreet, Freiburg (2022), Cantonale 21: MjA, Moutier + La Nef, Le Noirmont (2021); Rote Fabrik Summer Camp, Zurich (2021); Le Commun, Geneva (2021); Bagno Popolare, Baden (2021); Cantonale 20: EAC Les Halles, Porrentruy (2020); al_vista, Zurich (2020).