Bolliger’s reductive and formally rigorous work focuses on issues of space, perception, language and critical reception of art works. The works on paper as well as the three-dimensional pieces are densely layered networks, informed by art history, critical theory, philosophy and literature. Memory, history, the passage of time and ephemerality are invoked.
A large body of text-based, wall-dependent pieces focuses on questions surrounding the difficulty and complexity of critical reception art works. These concerns are expressed through a reflection on individual artists whose history exemplifies an unusually difficult acknowledgement of their oeuvre (among them Meret Oppenheim, Robert Walser and Hilma af Klint). These pieces draw attention to cultural and artistic forms of withdrawal and issues of illegibility and disappearance. Language is seen as a structure with its potential for communication, memory and intense reflection.
More recently, Bolliger has been engaged in the construction of a network of cultural, historic, theoretical and philosophical relationships for her work, by making visible particular bodies of works by artists with whom she shares an aesthetic sensibility. The juxtaposition of an image, or rather the memory of an image, with a brief text in the form of a footnote forms the underlying structure of this series of works on paper. Hybrids: One Work with Footnote, defines a fragile and tenuous boundary between a personal interpretation of a specific piece relegated to a footnote and the confirmation of a definitive critical acceptance in art historical terms. The notion of a footnote becomes a construct through which we acknowledge argument as fundamental to legitimacy.