Emilie Ding, the being and essence

United where space and the body interact, complex, brutal: getting to the heart of how this Swiss artist thinks

Immense but subtle: such is the paradox of Emilie Ding’s work. Pieces that are closely connected to the environment and place where people live, both through their structure and the materials she uses:concrete, metal, framing, and more recently felt, which insulates walls and individuals. “The relationship between the body and space is more intimate, direct,” she says. “The two are tightly linked. It’s only natural for me to look for their connecting points.” Halfway between imposing and infinitely grand, Emilie Ding also cultivates the art of the smallest nuances. She says she is incapable of being interested in small objects, with which interaction is impossible, but rather prefers to focus on the direct relationship of art with people. “I am constantly trying to find the border between ‘before’ monumentality and ‘after’ human proportions, to be in this space between the two. Ding has often been compared to Robert Beuys and Eva Hesse. She has also been called a romantic. But that’s a label she rejects. “Romanticism requires a certain nostalgia, but I’m not at all into that. Time, for me, is broken up: past, present and future are all found in my work. Of course, there is a connection to death, the fact that we will all be gone, but that’s not the cornerstone.”


Emilie Ding, B.O.D.I.E.S, Galerie Samy Abraham, 43, rue Ramponeau (Paris XX). Until June 4th
Photos :Alexandre Tabaste