November 03, 2025

Between Doubles and Gazes,

Cornelia Hedinger

Interview to CORNELIA HEDINGER

By ENRICA SANFRATELLO

Poised between reality and construction, Cornelia Hediger stages an intimate dialogue with her own image, exploring the boundaries between identity, perception, and representation. Through her fragmented self-portraits and analog photomontages, the Swiss-American artist investigates the tension between seeing and being seen, between physical presence and mental projection. In this conversation with Erica Sanfratello, Hediger reflects on the power of the female gaze, her relationship with classical painting, and the value of artistic craftsmanship in an era increasingly dominated by digital images and artificial intelligence.

E.S: In many of your works, there’s a strong awareness of the gaze-both the

viewer’s gaze and the exchanges between the figures coexisting within the same

visual space. How do you interpret and use the concept of the gaze in your

compositions? What does it mean for you to stage the act of looking and being

looked at in your photographs?

C.H: In a previous project titled The Doppelgänger—a body of work I developed over

the course of six years—I became acutely aware of the gaze, particularly through the

lens of my identity as a woman. As both subject and creator, standing simultaneously

in front of and behind the camera, I found myself deeply engaged with the notion of

the female gaze. This dual position required a constant negotiation between seeing

and being seen.

The project explored the terrain of the conscious and subconscious mind, with my

own inner dialogue manifesting visually through carefully constructed images. I

staged encounters between myself and my Doppelgänger—an imagined counterpart

that became both mirror and other. In these interactions, I was not merely

representing a duality but actively creating a connection between two facets of the

self. On set, this meant gazing into an empty space, a void where my counterpart

would later be placed, and forging an emotional connection with a presence that was

not physically there.

When that gaze failed, the image lost its vitality. Despite technical precision, the

photograph would fall flat. It became evident that the success of the image hinged on

the energetic exchange implied between the characters. I was exploring the gaze

between the figures within the image, but simultaneously, I was aware that these

images would eventually be encountered through the eyes of an audience. This added

another dimension: the viewer’s gaze.

I am especially conscious of how depictions of women are perceived differently

depending on the gendered lens of the viewer. The female form, when seen through

male versus female eyes, carries different histories, expectations, and projections. The

Doppelgänger thus became a layered investigation—not just of self and other,

conscious and unconscious—but also of perception, authorship, and the multifaceted

power of the gaze.

E.S: Speaking about Homage, you’ve chosen to work starting from iconic

masterpieces of Western painting. How do you select the works you pay homage

to? Is there a specific connection you feel with these historical images?

C.H: The images I choose to work with are ones I connect to on a deeply emotional

and intuitive level. These are images I have been looking at for over two decades,

works that I return to time and again

Although I did not set out to select works tied to a particular movement, many of the

paintings I am using as starting points for my own practice are associated with Neue

Sachlichkeit (New Objectivity). This was not a conscious choice, but rather a natural

alignment following my instincts and emotional inclinations.

The works I’m drawn to are invariably figurative. I am captivated by the human form

and its ability to convey complex emotional states, subtle narratives, and a profound

sense of presence. Many of these images hold a particular emotional weight for me,

they resonate in a way that feels deeply personal and enduring.

One moment stands out vividly in my memory: during my university years, we were

shown the work of Hans Bellmer. The emotional impact of his imagery was so intense

that I began to cry. I was overwhelmed. That moment crystallized something essential

for me—that the power of an artwork lies in its capacity to stir something within us

that cannot be fully articulated. It is this kind of emotional encounter that anchors my

connection to an image, making it not only memorable but meaningful in a lasting

way.

When that gaze failed, the image lost its vitality. Despite technical precision, the photograph would fall flat.

E.S: Neue Sachlichkeit, or New Objectivity, has clearly influenced your work, yet

you introduce more surreal and fantastical elements. What attracts you to their

approach, and how do you reinterpret it within your own practice?

C.H: I am drawn to images that offer a new perspective on reality. Images that differ

from what we typically expect in everyday life. I am captivated by visuals that show

me something I have never seen before, that contain an element of surprise, and that

open up a new and unexpected way of seeing the world.

In my own practice, I enjoy creating images that do not reflect reality as we know it,

but instead introduce something unfamiliar or unexpected. I am interested in

disrupting the ordinary, in presenting something that challenges perception and

evokes curiosity.

While I am drawn to Surrealism and its dreamlike qualities, what matters to me above

all is storytelling. More than anything else, I value a strong narrative, one that can

carry emotion, complexity, and meaning beyond what is immediately visible.

E.S: Your work in Homage can be seen as a form of reclaiming the Western visual

canon. Is it your intention to “rewrite” or “interrogate” these images through your

own perspective and technique?

C.H: I am not trying to rewrite the images I am choosing. They are a source of

inspiration. I deeply admire these paintings, and I love spending time with them;

looking closely, reflecting on them, and considering how I can translate them into an

image using my own experience and the technology available to me today.

Most of these paintings were created around one hundred years ago, in the time

between the First and Second World Wars, in a country I have never lived in. Our

work is always shaped by our personal experiences, and while my images are based

on these master paintings, they have a life of their own. They exist independently,

while at the same time paying respect and homage to the original works.

E.S: Artists like Cindy Sherman and Yasumasa Morimura have also reinterpreted

the old masters. What do you think are the fundamental differences between your

approach and theirs?

C.H: ven though I am familiar with Cindy Sherman’s History Portraits series, I don’t

know what specifically prompted her to create those images. In Sherman’s case, she

relies heavily on props, costumes, and makeup. To my knowledge, there are no

painted elements in her work—it appears to be entirely photo-based.

My own practice is moving more toward mixed media. While the final result is an

image printed on photographic paper, many components of the image are painted. I

create montages that combine photographic and painted elements. The process

involves assembling the image by hand—cutting and pasting with scissors and glue—

before re-photographing the finished, handmade montage to produce a high-

resolution file for printing.

E.S: Self-portraiture seems to be a strong thread running through your entire body

of work. Your presence is constant, but never singular-you multiply and fragment

your own image. I’m thinking especially of the Doppelgänger series. Could you tell

us more about this choice and what it means for you to explore the theme of the

double in this way? Do you see it as autobiographical, as a performance of

identity, or more as a psychological investigation?

C.H: Each project I work on is a continuation of the last. I transition into a new body

of work when I begin to feel limited by the method I use. Since the day I picked up a

camera, I have worked in self-portraiture. I tell stories through characters that act out

a plot and variations of myself. I am interested in the concept of the Doppelgänger.

To depict multiple versions of myself within a single image, I wanted to avoid Photoshop or

digital manipulation. Instead, I used a technique where I break up the set, photograph it in sections, and

arrange those sections in a grid, similar to the 9-panel piece, Hedwig and Hermine,

featured in this exhibition. This approach not only allows me to appear multiple times

in one image, but also speaks to the fragmented self: the conscious and

subconscious, the ego and alter ego.

I perform for the camera. I think about emotion, posture, facial expression, and gaze.

Sometimes I confront the viewer directly; other times, I act out a scene, aware of

being observed.

All of my work is rooted in personal experience, shaped by my upbringing and

childhood. There is, without question, an autobiographical element in everything I do.

I am interested in the concept of the Doppelgänger. To depict multiple versions of myself within a single image, I wanted to avoid Photoshop or digital manipulation. Instead, I used a technique where I break up the set, photograph it in sections, and arrange those sections in a grid, similar to the 9-panel piece,

E.S: Have you ever felt a connection with artists like Janieta Eyre, who also use

self-multiplication to challenge fixed notions of identity?

C.H : I am familiar with the work of Janieta Eyre. I first encountered her photographs

in a gallery in New York City more than two decades ago and was immediately

compelled to learn more about her. Her work resonates with me, primarily because it

is rooted in self-portraiture. In some pieces, she appears multiple times within the

same image, and there is a strong emotional charge throughout her work. Based on

the titles of her images, it seems that she is engaging more with the concept of the

Twin rather than the Doppelgänger.

E.S: There’s often a strong emotional tension in your images - particularly in the

silent interactions between your “doubles”. How do you build this inner

atmosphere within your photomontages? Are you interested in exploring internal

power dynamics between the different facets of the self that you portray?

C.H: When I get ready to take images, I go into character. I’m acting out a scene, and

what the viewer sees is a still, a single moment from that narrative. I talk to myself as I

work, telling myself stories to help express a specific emotion.

In the Doppelgänger project especially, I often explore internal conflict. The scenes

become a dialogue between different personality traits. Sometimes there’s tension;

other times, one character mocks or plays with the other. There is also humor in the

work.

The images are in color and may appear light or inviting at first glance, but on a

second look, there’s often an underlying tension, a psychological friction between

characters.

E.S: Have you ever asked yourself what would happen if you completely removed

your figure from these visual narratives?

C.H: I have created images where I used only my shadow or a reflection, or used a

long exposure so that the body appeared ghostly and barely visible. Removing the

figure entirely doesn’t feel right for me at this moment. It’s possible that someday I’ll

arrive at creating images void of the human form. I’m open to letting the work evolve

wherever it needs to go. But right now, keeping the body present, even if only

partially, is an instinctive part of my process.

E.S: Your analog photomontage technique is particularly striking in an era

dominated by artificial intelligence. In Homage, for example, there’s a very

tangible sense of physicality and handwork. Could you walk us through your

creative process - how you choose and assemble the images - and share what it

means to you to embrace this manual approach in contrast with the speed and

artificiality of AI-generated images?

C.H: My approach is shaped by my training as an artist. While I don’t hold a degree

in photography, I earned a Master of Fine Arts and spent many years studying

painting and drawing alongside photography. That background continues to

influence how I think and work. Lately, I’ve become increasingly interested in

incorporating painted and constructed elements into my images—building

components by hand, then photographing them as part of the final piece.

The images in Homage are created using mixed media. Building a montage is a slow,

deliberate process that gives me the space to experiment—often leading to results I

didn’t originally anticipate. It’s a bit like assembling a puzzle. I learn something new

with every piece I create, and I have no interest in handing over that process to AI.

Once I’ve chosen a painting as a point of departure, I begin with a sketch and plan

my own interpretation. I decide which parts I’ll photograph and which I’ll paint. After

producing all the individual elements, I lay them out digitally to test composition and

scale. Then I deconstruct the image, print each component separately, and

reassemble it by hand—cutting and gluing each piece into place. Once that version is

complete, I rephotograph the work to produce a high-resolution file, ready for final

printing.

By ENRICA SANFRATELLO