Céline Meyrat.

“My working place is in an old flat I share with an artist friend.

There are three rooms, a kitchen and a bathroom. One room is empty, we use it for “das dach” project, where people can rent the space for 3.30 swiss franc a day, for projects, exhibitions, working space, conference room, and so on…We moved in this flat last spring, and the house will be renovated next spring. We will then leave the place. Even if I hate carying my stuff, I kind of like to change sometimes the place where i work. Every new place bring you something different, I don’t work the same in every place. It is also a great opportunity to work with different people.”

Celine Meyrat was born in 1977 in Biel, Switzerland. After taking the introductory course at the Biel School of Design (2002/2003), she went on to study at the HSLU Art & Design in Lucerne where she graduated in 2007 in illustration. Since 2006 she has taken part in numerous group exhibitions both in Switzerland and also abroad (Prague, Speyer, Budapest, Carrara). She lives currently in Biel and work in Bern.

FYD: Where is your workspace?
CELINE MEYRAT: In a Bern, a calm place but very central.
FYD: Coffee or tea?

CM: I drink both, but normally more tea, and 1/2 cup of coffee a day.

 

FYD: Do you work at morning or night?
CM: It depends, but not too early. I start to work around 10am.
FYD: How did you learn to draw?
CM: I started very late with drawing. I know a lot of people who have drawn since they picked up a pencil. At first, I was more interested in photography. I started to draw because I felt a border I could not cross with the other medium.
FYD:  Your Elucubrations series. Is your work based purely on imagination?
CM: I draw my thoughts, sometimes my dreams, not with a lot of spontaneity, more in a conceptional way. My drawings are generally built around a very clear idea in my head. I started the Elucubration series with the idea to do something about psychical violence.I wanted to reduce the drawing at his minimum, I tried to go to the essence of my feeling about this topic, to give the possibility to the observer to project his own experience about the violence.

My drawings are generally built around a very clear idea in my head.
FYD: How did you decide to exaggerate the features of the animals on your Hypertrophie Series?
CM: The series was more of a study of preoccupations I’ve always had; about reality and fiction; about the limit of an object and the space around, and this relation with space.

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