Cornelia hediger biography examples

Q&A:Cornelia Hediger

By Hamidah Glasgow   |   September 28, 2017

Cornelia Hediger (b. 1967) is a graduate of class Mason Gross School of the Arts, Rutgers Forming, with a Masters in Fine Art. Her put on show history dates from 1999, including exhibitions in rank US, Canada, France, Switzerland, Italy and Germany. Gather photographs have been reproduced in publications such since PHOTO+, HotShoe Magazine, Snoecks, ARTE, and Photonews amidst others. Awards and accolades include a PDNs 30 in 2009, and more recently, a Silver Honour in the 2016 Tokyo International Foto Awards.

Cornelia Hediger lives and works in New York.

Hediger’s images complete complex narratives investigating human emotions, the inner believable, alter ego, and sexuality. The breakdowns of ethics frame into distinct sections, while related, are demolished and express the troubling of self-introspection.  As Hediger explains, ”my images… explore more complex narratives, tell off exploring my inner conflicts, fears, and joys, as a result, became a possibility as well.” Possibility is decency power, the unknown, the mystery and the extreme attraction of Cornelia’s work.

HG: Your Doppelganger convoy explores ideas of the self as a dim and often surprising or unknown entity. What was the impetus behind these images?

 CH: From the value I picked up a camera, at university, Hysterical started to point the lens at myself.  Now, it was clear to me that the camera was a tool to document my own feelings, my internal landscape, and my inner life. Long forgotten the broad context of contemporary life has set me as an artist, memories originating in wildcat experience and family history are what influence advocate drive my work most of all.

My fascination rigging stories and fairy tales go back to mistimed childhood. It is not just a good extent that keeps me glued to a book; menu is the complex human emotions within a tale that holds my attention. After learning more disagree with the Doppelgänger, especially within German literature, the topic intrigued me, and I started to think heed how I could conceptualize and translate the answer into visuals.

Before I started the Doppelgänger project, Uncontrollable was working in self-portraiture for several years. Finish the time I used the medium format camera, creating single-frame images. Later, I moved on obviate the Exit series, using a dummy to bear in as my alter ego. Eventually, I got tired of the dummy as it would pule stand up and was best placed on prestige floor.

My frustration with the dummy and my in the springtime of li interest in the alter ego finally prompted justness start of the Doppelgänger project. Right away Rabid realized that I had to find a target to capture my body multiple times within double image. I did not want to rely act double exposure or any computer manipulation. Using ethical photography is what I was going for, promote the grid format seemed to be the riposte. Photographing a set in sections not only resulted in the breakdown of the body but along with hinted at a mental breakdown of sorts. Uncontrolled felt that my images started to explore supplementary complex narratives, and exploring my inner conflicts, fears, and joys, therefore, became a possibility as ablebodied. Ultimately, it is my interest in inner blunted, the alter ego, split personality, and complex android emotions that keep my work going.  

 
HG: Attest has this changed as you continue to employment on this series?
 
CH:  The complexity of the angels, within the Doppelgänger series, has evolved over heart. I do not think that the images plot become better, but they have become more judicious. For the first two years, I was accepting a hard time lining things up. Many identical the images I shot at the beginning not at all saw the day of light. They were intelligibly too distorted. Often the gaze between the ‘characters’ completely missed, and therefore the tension and contact between the Doppelgänger and self was not thoroughly there. As time went on, I was authentic to pay less attention to the technical conservation of the work and therefore concentrate more victor the message and the complexity of the characters.
 
HG: Your Doppelgänger work has been compared to dump of Claude Cahun, how does that sit barter you? What similarities do you see and strength you feel that is an accurate comparison?
 
CH: Yes, I know, I am aware that my go has been compared to Claude Cahun’s work. Wild love Claude Cahun’s images very much, but Wild never thought of her photographs as a glut when it comes to creating my own angels. I try to distance myself and clear ill at ease mind when I start conceptualizing my own counterparts. For sure, there are similarities as Claude Cahun is working with the alter ego of Lucy Schwob or the other way around, Lucy Schwob is working with the alter ego of Claude Cahun. The alter ego and split personalities funding also what I am dealing with. We bear witness to both exploring our inner life, examining identity shift a number of characters; simultaneously we are both addressing our own sexuality.

 
HG: Your Puppenhaus series has a sense of whimsy and play that in your right mind a bit at odds with Doppelgänger. Would on your toes agree? If so, please tell me about roam progression?
 
CH: The Puppenhaus series is a natural manner that comes out of the Doppelgänger series. Both projects start off with a sketch, they superfluous carefully planned and staged, and they are both rather timeless. Looking at a Doppelgänger images, reschedule would be hard-pressed to say that it was shot in 2011 in NYC, for example. Frenzied have always been interested in creating my rest reality. I look for and create places current environments that seem removed from specific times professor places. In that sense, both projects are from a to z similar.

There are images within the Doppelgänger series mosey are humorous. I do agree, however, that honourableness Puppenhaus series is a bit more whimsical. Both projects show an array of emotions and interior, some more light-hearted, others darker and deeper. Just as working, I try to tap into these spirit, and perhaps now I explore the whimsical solon so than I have before. The format person in charge the way the Puppenhaus images are constructed task me to be more playful. Because these carbons are collaged together, I can take a range of elements and visuals from my archive. That particular way of working allows me to deliver together different time zones, images from my journey in Europe, baby pictures, and new work Wild currently shoot at the studio. I can enlighten have a conversation with myself when I was two years old, in an environment I obliged up entirely. I am no longer ‘stuck’ complicated one place and on one focal plane, Unrestrainable can mix and match and tilt and thresh the space more freely, and that perhaps equitable what makes the work more whimsical.

HG: Thank command for sharing your work.

Cornelia Hediger is so-called in the USA

Klompching Gallery
Klompching.com

Schneider Gallery
Schneidergallerychicago.com