Therese Bolliger

Current
       Rewilding
       Thingness in doubt 

Bio
About the work
projects
    Überzeichnen
    The Green of Her
    Simultaneities
    Hybrids
    Four Echoes
    ellipsis

  language
    100 propositions
    Lessness
    Ambit
    Walser Publication

screening pieces
    Oppenheim Pieces
    Walser Microscripts
    blind word mute vision 
    and Aura

works on paper
    (K)EIN VERGLEICH
    (DIS)SIMILARITIES
    Volatile Body/Volatile
    Language 
    Stutter
    Anonymous Gestures
    Commands
    Vocabularies, sight and
    sound
    Vulnerability and Transference
    Dressing hair and wounds

sculpture
    Drawings for Sculpture  [1]  [2]
    Doppelgaenger, Overflow
    Enclosure
    Factory 77

    Fabrications
    Knots
    Furfeathers

Publications

Acknowledgements

Contact

© 2023 Therese Bolliger.

Furfeathers, 2004  , ( for Maria Hupfield )  presented in the context of the exhibiton Fray, Koffler Gallery and Textile Museum, Toronto, 2006 




Furfeathers, 2004 ,   feathers and artificial fur,  size variable

Furfeather acts as a manifestation of the ephemeral nature of experience, memory and time. It is a comment on what might have been a visceral experience yet what remains to be looked at. The piece suggests a feeling of simultaneously being outside and inside a body, being and not being part of it, having and being denied access to it. It is located in the moment when a private, intimate matter becomes externalized, when it turns into a memory or a dream of a bodily sensation. There is a slippage between what is animal and what is human. The sensuality of the materials is destabilizing notions of abstraction, instead infusing the piece with psychological connotations. There is  a deliberate shift away from weighty substances and complex processes associated with traditional sculpture  towards non-traditional and idiosyncratic materials.


Fray, The Koffler Gallery and Museum for Textiles, Toronto, March 2007

Hannah Claus, Jeanne Thib, Sarah Stevenson, Cal Lane, June Clark, Susan Detwiler, Susan Schelle, Rachel Echenberg, Therese Bolliger, Millie Chen, Nadine Myre, David Merritt






Ambit, 2004 ,  eye lashes and thread, size variable, Oakville Galleries, presented in the context of the exhibition Four Echoes, 2009

A second piece references the body in its essential state as a living being (or once living being). The word “ambit” is partially defined  as an external boundary, a boundary between the body and its surroundings , the external world.  In this context  it might  suggest a body separated from itself,  tending towards an independent entity. The distinction between being in a body and being  a body to someone else become blurred.