November 03, 2025

Between Doubles and Gazes,Cornelia Hedinger

INTERVIEW WITH 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 manuality in an era increasingly dominated by digital images and artificial intelligence.

ES: In many of your works there is a strong awareness of the gaze: both the spectator’s gaze and the one exchanged between the figures that coexist 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 particularly aware of the gaze, especially through the lens of my identity as a woman. Being both subject and author at the same time, positioned in front of and behind the camera, I felt 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 inner dialogue visually manifesting through carefully constructed images. I staged encounters between myself and my Doppelgänger—an imaginary counterpart that acted as both mirror and alter ego. In these interactions, i wasn’t merely representing duality; I was actively creating a connection between two aspects of the self. On set, this meant looking into an emptyspace, an absence where my counterpart would later appear, and building an emotional connection with a presence that wasn’t physically there.

When that gaze failed, the image lost its vitality. Even with impeccable technical precision, the photograph would appear flat. It became clear that the success of the image depended on the energetic exchange between the characters. I was exploring the gaze between the figures within the image, but I was also aware that these images would eventually be viewed through the gaze of an audience.This added yet another dimension: the spectator’s gaze.

I am particularly aware of how representations of the female body are perceived differently depending on whether the viewer’s gaze is male or female.The woman’s body, seen through male or female eyes, carries different histories, expectations, and projections.The Doppelgänger thus became a layered investigation—not only of self and other, conscious and unconscious—but also of perception, authorship, and the multiple powers of the gaze.

E.S: Speaking about Homage, you chose to work by 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 those with which I feel a deep, emotional, and intuitive connection.They are works I’ve been looking at for more than twenty years—pieces I continually return to over time.

Even though I didn’t initially intend to select works tied to a specific artistic movement, many of the paintings I chose as starting points for my practice connect back to Neue Sachlichkeit (New Objectivity).

It wasn’t a conscious choice, but rather a natural alignment, guided by instinct and emotional inclination.

The works that draw me in are invariably figurative. I am fascinated by the human figure and its ability to express complex emotional states, subtle narratives, and a profound sense of presence. Many of these images carry a particular emotional weight for me; they resonate in a way that feels deeply personal and enduring.

Although I feel close to Surrealism and its dreamlike qualities, what matters most to me is narrative. More than anything else, I value a strong narrative—one capable of conveying emotion, complexity, and meanings that go beyond what is immediately visible.

One moment in particular is etched in my memory: during my university years, we were shown the work of Hans Bellmer. The emotional impact of his images was so intense that I burst into tears. I was overwhelmed.

That moment crystallized something essential for me: the power of a work of art lies in its ability to stir something within us that cannot be fully articulated.

It is this kind of emotional encounter that still fuels my connection to an image today, making it not only memorable, but profoundly meaningful.

E.S: Neue Sachlichkeit, or New Objectivity, has clearly influenced your work, yet you introduce more surreal and fantastical elements.What draws 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 diverge from what we commonly expect in everyday life. I’m fascinated by visions that show me something I’ve never seen before, that contain an element of surprise and open up an unexpected way of looking at the world.

In my practice, I aim to create images that don’t reflect reality as we know it, but that introduce something foreign, something unexpected. I’m interested in unsettling the ordinary, proposing something that challenges perception and sparks curiosity.

Although I feel close to Surrealism and its dreamlike qualities, what matters most to me is narrative. More than anything else, I value a strong narrative—one capable of conveying emotion, complexity, and meanings that go 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 perspective and technique?

C.H: I am not trying to rewrite the images I choose.They are a source of inspiration for me. I deeply admire these paintings and love spending time with them — looking at them closely, reflecting on them, and asking myself 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 about a century ago, between the First and Second World Wars, in a country where I have never lived. Our work is always shaped by our personal experiences, and although my images are based on those masterpieces, they have a life of their own.They exist independently, while still paying homage to and showing respect for the original works.

E.S: Artists like Cindy Sherman and Yasumasa Morimura have also reinterpreted the great masters.What do you consider to be the fundamental differences between your approach and theirs?

C.H: Although I am familiar with Cindy Sherman’s History Portraits series, I don’t know what motivated her to create those images. In her case, she makes extensive use of props, costumes, and makeup. As far as I know, there are no painted elements in her work — it appears to be entirely based on photography.

My practice, on the other hand, is moving increasingly toward mixed media. Even though the final result is a printed photograph, many components are painted. I create montages that combine photographic and painterly elements.The process involves manually assembling the image — cutting and gluing with scissors and adhesive — before re-photographing the finished collage to obtain 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, yet never singular: you multiply and fragment your own image. I’m thinking in particular 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 consider it autobiographical, a performance of identity, or rather a psychological investigation?

C.H: Every project I work on is a continuation of the previous one. I move on to a new cycle of works when I begin to feel limited by the method I have been using. From the day I first picked up a camera, I have worked with self-portraiture. I tell stories through characters who enact a narrative and embody different versions of myself.

I am fascinated by the concept of the Doppelgänger.To represent multiple versions of myself within a single image, I wanted to avoid Photoshop or digital manipulation. Instead, I chose a technique that involves dismantling the set, photographing it in sections, and then recomposing those sections into a grid — as in the nine-panel work Hedwig and Hermine featured in this exhibition.

I am fascinated by the concept of the Doppelgänger.To represent multiple versions of myself within a single image, I wanted to avoid Photoshop or any digital manipulation. Instead, I chose a technique that involves dismantling the set, photographing it in sections, and then recomposing those sections into a grid.

This approach allows me not only to appear multiple times within the same image, but also to reflect the fragmented nature of the self: the conscious and the unconscious, the “I” and the alter ego.

I perform in front of the camera. I think about emotion, posture, facial expression, the gaze. Sometimes I confront the viewer directly; other times I enact a scene, fully aware of being observed.

All of my work stems from personal experiences — it is shaped by my childhood and by my process of growth.There is, without a doubt, an autobiographical element in everything I do.

E.S: Have you ever felt a connection with artists like Janieta Eyre, who also use the multiplication of the self to challenge fixed notions of identity?

C.H: I am familiar with Janieta Eyre’s work. I discovered it for the first time in a New York gallery more than twenty years ago, and I was immediately compelled to learn more. Her work resonates with me, mainly 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. From the titles of her images, it seems she engages more with the concept of the twin rather than that of the Doppelgänger.

E.S:There is often a strong emotional tension in your images — especially in the silent interactions between your “doubles.” How do you construct this inner atmosphere in your photomontages? Are you interested in exploring internal power dynamics between the different facets of the self you represent?

C.H:When I prepare to take a photograph, I step into character. I am acting out a scene, and what the viewer sees is a single still — one moment from that narrative. I speak to myself as I work; I tell myself stories to help convey a specific emotion.

In the Doppelgänger project in particular, I often explore inner conflict.The scenes become a dialogue between different traits of the personality.

Sometimes there is tension; other times, one character teases or plays with the other.There is humor in these images as well.

The photographs are in color and may appear light or charming at first glance, but upon closer inspection, a deeper tension often emerges — a psychological friction between the characters.

E.S: Have you ever wondered what would happen if you completely removed your figure from these visual narratives?

C.H: I have created images in which I used only my shadow or my reflection, or long exposure times so that the body appeared ghostly and almost invisible.

Completely removing the figure doesn’t seem right to me at this moment. It’s possible that one day I may create images without the human form. I am open to letting the work evolve as it needs to.

But for now, maintaining the presence of the body — 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 is a very tangible sense of physicality and manual labor. Could you explain your creative process — how you choose and assemble images — and tell us what it means for you to embrace this manual approach in contrast to the speed and artificiality of AI-generated images?

C.H: My approach is shaped by my artistic training. Although I don’t have a degree in photography, I earned an MFA and spent many years studying painting and drawing alongside photography.This background continues to influence the way I think and work. Lately, I’ve become increasingly interested in incorporating painted and constructed elements into my images—creating components by hand and then photographing them as part of the final piece.

The images in Homage are created using mixed media techniques. Building a photomontage is a slow and reflective process that gives me the space to experiment—often leading to outcomes I hadn’t originally anticipated. It’s a bit like assembling a puzzle. I learn something new with each piece I create, and I have no interest in delegating this process to AI.

Once I’ve chosen a painting as a starting point, I begin with a sketch and plan my interpretation. I decide which parts I will photograph and which I will paint.

After producing all the individual elements, I lay them out digitally to test the composition and scale.Then I deconstruct the image, print each component separately, and reassemble it by hand—cutting and gluing every piece into place.

Once that version is complete, I rephotograph the work to produce a high-resolution file, ready for the final print.

By Vertigini Studio

di Enrica Sanfratello