Marie Gyger’s work is distinguished by an elegance and formal refinement which functions as a veil. Gyger’s works are handmade, but not in the sense of craft, with an emphasis on the “artist’s hand”. She works in a standardised manner as if in a small factory, gently folding under the tradition of Origami. The procedure is based on Euclidean rules that allow to reflect upon the world in a very small scale, as in a child’s game. Each form is measured against the paper from which it emerges within the space that is allotted to it. At first view, their delicate appearance wards off evidence of the anxiety-inducing traits of everyday life, while discomfort lies beneath. 

For miart, Gyger has produced five new works on paper depicting multiple white collar shirts folded in her sharp and precise style, and a new in-situ work based on her work Bombshell - made out of strategically folded paper representing a bomb, suggesting a shelling inside the exhibition space. The fragility of the paper itself and careful folds creates a tension with the inherent violence looming above. Gyger’s work is  permeated by ambivalence. On one hand there is a fear of standardisation and of a community that has drowned out our singularities; at the same time the reassurance of the norm attracts us, inciting our desire to be complicit.

Marie Gyger

Marie Gyger’s work is distinguished by an elegance and formal refinement which functions as a veil. She works in a standardised manner as if in a small factory, gently folding under the tradition of Origami. The procedure is based on Euclidean rules that allow to reflect upon the world in a very small scale, as in a child’s game. Each form is measured against the paper from which it emerges within the space that is allotted to it. At first view, their delicate appearance wards off evidence of the anxiety-inducing traits of everyday life, while a contained yet smouldering critical charge lies beneath.