Colors Transform What We Perceive as Real

(Translation of the original article “Farben verändern, was für uns real ist”, zvg/are)

Exhibition
Swiss artist Pascale Ettlin, who studied at the Lucerne University of Applied Sciences and Arts – Design & Art, explores the boundary between reality and magical imagery in her works. She invites both philosophical reflection and simple contemplation. This is also evident in her current exhibition at Galerie Müller in Lucerne.

Colors play a central role in her work: from reality and nature, she creates fantasy worlds that, in turn, transform our perception of the real. Pascale Ettlin’s work is consistently shaped by beauty, which she sees as a sign of respect.

Although the title of her third exhibition at Galerie Müller, La mauvaise herbe (“The Weed”), may sound negative, it is misleading. It refers not only to an unwanted plant, but above all to what escapes control — that which grows where it’s not expected. The wild, the resilient, the untamable: that which grows and survives despite obstacles.

GALERIE HOFMATT
 

"Heimlich Fremd" (“Familiarly Foreign” or “The Uncanny Familiar”) – The Forest and Roots Shape Her Art

(English translation of the original German article “Heimlich Fremd – Wald und Wurzeln prägen ihre Kunst”, zvg)

Swiss artist Pascale Ettlin from Obwalden is exhibiting her works at Galerie Hofmatt in Sarnen until December 8.

The forest, in all its many facets, has spread throughout the Hofmatt Gallery. While in the panoramic room—painted in the mid-17th century by an unknown artist—the forest appears as a uniform black mass, Pascale Ettlin dives meticulously into the details: the branching, the twists, the impenetrable, the disordered, the mysterious entanglement. “The forest is a mirror of our dreams, our thoughts, our impulses, our demons, and our fears,” writes Ettlin in the preface to one of her exhibition catalogues.

This ambivalence is also reflected in the exhibition title, “Heimlich Fremd”. For the artist, who grew up in a French-speaking environment, heimlich (meaning both hidden and homely) evokes at once secrecy and belonging, while fremdpoints to what is strange or unfamiliar. The title thus oscillates between intimacy and estrangement — a tension that could also be translated as “Familiarly Foreign” or, in a more evocative sense, “The Uncanny Familiar.”

Ettlin’s family history is deeply intertwined with this duality: her father, originally from German-speaking Switzerland, moved to the French-speaking part of the country, while her mother fled Germany to Geneva, with relatives scattered abroad. Love eventually brought the artist to Obwalden — a new foreign land, another quest for identity, another place to put down roots. These roots are most clearly visible in the paintings along the gallery corridor.

A surprising element awaits in the basement: a series of close-up photographs capturing fragments of flower petals in the early stages of decay. For Pascale Ettlin, the focus is not on the flower as an object of beauty, but on its structure, form, and composition — inviting the viewer’s imagination to take over.

Local Art Engages with the State of the World

(Translation of the original article “Lokale Kunst befasst sich mit der Weltlage”, sy/zf)

Last week, the exhibition “NOW 14 Auswahl” opened its doors in Obwalden and Nidwalden. The vernissage attracted a large audience, including representatives from the worlds of art and politics.

Curator Bettina Staub had previously held discussions with the participating artists. Information gathered from these conversations was incorporated into the exhibition texts.

It is striking how strongly the artists engage with the current global situation. According to the curator, this engagement runs like a red thread throughout the exhibition — in the pavilion, the historic Winkelriedhaus, and the garden. The works reflect and respond to our uncertain, crisis-ridden times.
 

Art Under Review

(Abstract and English translation from the original article “Kunst auf dem Prüfstand” by Rafael Schneuwly)

In front of a large audience and representatives from the political and artistic spheres, the exhibition “NOW 24 Auswahl” was inaugurated.

“I would like to thank all the artists who presented their works last year in the overview exhibition and who are not part of this year’s selection. Through their commitment, they remain the most essential part of NOW,” said Res Schmid, Director of Education for Nidwalden, speaking also on behalf of his Obwalden government colleague Christian Schäli.

The exhibition curator, Bettina Staub, then offered a virtual tour through the pavilion, the historic Winkelriedhaus, and the garden. Her conversations with the participating artists informed the wall texts, providing an excellent introduction to the works on display.

For Staub, the unifying thread of the exhibition is a reflection on the current state of the world:
“Many works respond to our uncertain, crisis-ridden times; they mirror them and invite reflection — without offering solutions. That is a mark of quality.”

Installative, interactive and multimedia works
Bettina Staub divides the exhibition into installative, interactive, and multimedia works, alongside paintings, drawings, and sculptures.

The pavilion also features numerous paintings, including Passagers clandestins (Blinde Passagiere) by Pascale Ettlin, among others.

In a Floating World, Exhibition Film

Video 6 min.

Solo exhibition in SUST, Stansstad, Switzerland

March-April 2023 

https://youtu.be/nuIfu3aljoo

Jurassian and Bernese Art in the Spotlight in Moutier

(Summary and English translation of the original article by Catherine Bürki, Le Quotidien Jurassien, December 2, 2023)

The Musée jurassien des arts in Moutier is hosting a new edition of the Cantonale Berne Jura from December 2 onward. More than thirty artists are presenting works that explore a wide range of media and themes, offering visitors a chance to discover creations that are sometimes quite surprising.

The exhibition will be on view throughout December and January, showcasing a broad spectrum of contemporary artistic expression. “Each participating institution had its own jury, which selected from among the 448 artist submissions received this year,” notes curator Valentine Reymond.

Guided tours and other special events will also be organized during the exhibition period.

Unterwalden Art Exhibition Surprises

(English translation of the original article by Romano Cuonz, Luzerner Zeitung, 29 September 2023)

At the Turbine in Giswil, the jury faced a tough challenge: from among 72 artists from Obwalden and Nidwalden, only 17 could be selected.

As with every edition of “Obwaldner und Nidwaldner Kunst NOW”, the moment of revelation is always a highlight. On Friday evening, 29 September, in the vast industrial hall of the Turbine, Marius Risi, the cultural officer of Obwalden, announced the names of the 17 artists chosen for next year’s selection exhibition in Stans. One of them will also receive the Unterwalden Art Prize, endowed with 20,000 Swiss francs.

For now, though, 72 artists from the two half-cantons are presenting their works, hoping to attract as much public attention as possible. Their creations hang on the walls, rise up in space, or unfold as videos. The range is wide – full of colour and form – yet there are also quieter works that invite a longer gaze.
“It’s striking that there’s less abstraction this year than in previous editions,” notes Risi, who also serves as organizer of the exhibition. “Figurative representation has taken center stage, and painting is once again more prominent.”

How the Jury Faced the Tough Choices

The exhibition NOW showcases the full spectrum of artistic creation in Obwalden and Nidwalden. Visitors encounter works by both dedicated amateurs and established professionals, including well-known names such as Heini Gut, Stephanie Hess, Christian Kathriner, Rochus Lussi, and Moritz Hossli.

Selecting the finalists was no easy task for the five-member jury, led by Gabriela Christen, professor at the Lucerne University of Applied Sciences and Arts – Design & Art.
“To reach fair decisions, the jurors walked through the exhibition several times over six hours,” Risi explains. The artists’ names were initially hidden. Long and intense discussions were often needed, especially in close cases.
Risi was pleasantly surprised: “Without any deliberate intention, the selected group turned out to include an equal number of artists from Obwalden and Nidwalden, and a perfect balance between men and women.”
As for the criteria, the jury looked at artistic originality, technical execution, and also considered the artists’ overall body of work.
This year, for the first time, there will be one additional selection — chosen directly by the public.

What Catches the Eye

During the exhibition tour, several works stand out. The interplay between local rustic wood and contemporary artistic forms is particularly engaging.
Stefan Wittmer prints landscapes onto wood in a striking way, making use of the material’s texture.
Large-scale sculptures by Rochus Lussi and Toni Halter also command attention — with Halter surprising visitors by incorporating concrete.

While many artists continue along their proven paths, there are also unexpected developments.
Brigitta Würsch, for instance, has moved from video work to remarkably creative painting.
A true novelty is presented by the artist trio W-H-O — Rainer Otto Hummel, Guido Werner Zelger, and Philipp Hanspeter Wyrsch — who collaborate by starting and finishing each other’s paintings, producing astonishing results.
Viewers can expect many “Ah!” and “Oh!” moments as well in front of the large paintings by Pascale Ettlin and Pat Treyer: Ettlin’s canvases reveal a pack of strange dogs, while Treyer’s are populated by monstrous, fantastical creatures.

The NOW 2023 exhibition truly offers something for everyone — even art that is “acquirable.”
It deserves a spot in as many calendars as possible.

Dessin – The Art of the Line at Löwengalerie, Lucerne

(Summary and free English translation of the article by Susanne Holz, published in the Luzerner Zeitung on 10 December 2022)

As part of the large-scale exhibition project Dessin, Löwengalerie Lucerne showcases artists exploring the expressive potential of drawing in its many forms.

Pascale Ettlin presents her sand-toned oil and acrylic paintings, which she describes as a form of “silent communication.” Her works depict children and their gestures in a delicate, contemplative atmosphere. The limited palette of ochre and sand hues directs attention to the emotional nuances and quiet gestures within each scene.

The exhibition highlights the diversity of contemporary drawing — from line to gesture, from movement to silence — situating Ettlin’s work within a poetic dialogue between figuration, emotion, and visual subtlety.

Moods of Nature and Painted Stories

(Free English translation of the article by Willi Bürgi, Sursee, 2020)

SURSEE – Pascale Ettlin presents her recent paintings at Kunstforum Artyourself.

The Sarner artist Pascale Ettlin is exhibiting her most recent works at Kunstforum Artyourself in Sursee. In this spacious and thoughtfully arranged show, she draws inspiration from nature observation, revealing atmospheres rich with emotion and mystery.

“Listening to the forest” — this is the subtle theme running through her work. The forest is like a book, full of secrets, glimpses, entanglements, and towering trees that humble the observer. One can lose oneself in it, gazing into its depth and shadows. Ettlin guides us through this world: the root system of a beech tree, the chaotic network of sea-salt crystals resembling the glow of a distant galaxy. She masterfully weaves the nets in which she catches us — images that seem easily readable yet unfold deeper layers of fear, intimacy, and enchantment.

A Late Vocation as an Artist

Only in recent years has Pascale Ettlin (51) dedicated herself fully to professional art. She completed her Bachelor’s degree at Lucerne University of Applied Sciences and Arts – Design & Art in 2017, though her creative drive began long before.

Born in Geneva to a German mother who lived through the war and its aftermath, and a Swiss father from the Bernese Oberland, Ettlin grew up amidst stories of contrast — survival and silence. Sensitive by nature, she began painting as a child, first on paper, later on canvas. As a teenager, she sought out art supplies, inspired by the masters of French modernism. Unable at first to make a living from art, she pursued studies in geography, economics, and politics, and worked for several years in the Swiss federal administration before moving to Central Switzerland for love.

Paintings with Magnetic Pull

At Artyourself, Ettlin shows around two dozen works from the current year. These finely arranged paintings transform the forest into a projection surface for emotions — fear, solitude, longing, tenderness. A girl in a pink dress stands alone before a luminous forest, confronting an age-old story that Ettlin continually retells. In another work, she contemplates the restless surface of a pond after a stone has been thrown. Elsewhere, the Trans-Siberian Railway (unseen) passes through deserted woods.

In Hunting, three riders charge through a mystical forest; in L’homme des bois, a solitary figure strides swiftly through branches shimmering in the light.

Her works possess a magnetic quality — what seems figurative at first glance draws the viewer into a shimmering sea of color, where tangible forms dissolve into complementary structures.

Pascale Ettlin paints stories — not those of her parents, but her own: intense, emotional, and deeply personal narratives born from encounters with nature, documented through photography and then transposed onto canvas. They resonate with both vulnerability and strength — dense, moving, and luminous in their independence.

Pascale Ettlin – “durchforsten” (Exploring the Forest)
Exhibition until 24 January 2021
Opening hours: Fri/Sat 3–7 p.m., Sun 11 a.m.–4 p.m.
Artist present on 5, 12 December, 16 and 24 January (finissage from 2 p.m.)

Pascale Ettlin – Between Nature and Cinema

(English translation of the article published on ROI online.ch, April 6, 2020)

Pascale Ettlin draws inspiration from both nature and cinema. Nature, in her work, is vibrant, real, and at the same time dreamlike and imaginative. It mirrors our dreams, thoughts, and fears. Her fascinating paintings can currently be viewed from outside the windows of Galerie Müller in Lucerne.

Like scenes from a film, each painting opens the door to multiple stories and interpretations. A seemingly peaceful forest or a harmless meadow suggests that hidden life might still be stirring beneath the surface. When viewing her works, one inevitably begins to wonder: What has happened here? What is taking place? And where are we — in nature, or in a dream world? Her paintings invite us to imagine our own open-ended narratives and reflections.

What, for example, is the little girl in the blue Sunday dress doing alone at the edge of the forest? We only see her from behind. The forest appears dense and impenetrable, yet the girl stands in the light, and the plants around her seem to glow with joy. Is the painting Symbiosis depicting an idyllic world — or something unsettling? And what is the girl doing there?

The paintings of artist Pascale Ettlin are on view at Galerie Müller, Haldenstrasse 7, Lucerne. Due to current circumstances, the gallery remains closed to visitors; however, until May 23, 2020, the works can be admired from outside. The remarkable paintings are easily visible through the large window facing Haldenstrasse (accessible via four steps up to the entrance).

Galerie Müller
Haldenstrasse 7, 6006 Lucerne
Tel. +41 41 410 75 74
www.galeriemueller.ch

Broken Idylls on the Landenberg

(English translation of the article published in the Obwaldner Zeitung, by Marion Wannemacher)

Pascale Ettlin’s paintings draw the viewer in with magnetic force. They reveal a harmony that is, in truth, deceptive.

The little girl in the blue dress stands at the edge of the forest, gazing into it. We only see her from behind. The forest appears dense and impenetrable; there seems to be no way inside. What at first looks like an idyllic scene carries something unsettling. What is the girl doing there?

The oil painting is titled Face à Face, and it is part of Pascale Ettlin’s exhibition “Waldrausch” on the Landenberg in Sarnen. “The paintings tell of a world that appears to show humans and nature in harmony — but appearances are deceiving,” writes Christian Sidler, former head of the Obwalden Office of Culture, in the exhibition catalogue. Sidler also delivered the laudatory speech at the opening.

Stories that spark the imagination

The moment visitors enter the exhibition space at the Zeughaus, the paintings captivate them. Each image, with its open-ended narrative, stimulates a personal “inner cinema.” They leave room for speculation. Almost always, the artist deliberately breaks the idyll.
“My paintings are heimelig — cozy — yet something in them feels off,” says Ettlin.

Born in Geneva, the artist often works from her own photographs or stills from films — sometimes even thrillers. When photographing, she often prefers a slightly blurred focus. Painting in large formats with highly diluted oil pigments, she achieves an almost watercolour-like transparency. Ettlin’s works are not “dark” in mood — they also carry a quiet sense of beauty and hope.

“I know that everyone has a good and a bad side, but things can always shift,” she explains. Ettlin traces some of her recurring themes back to her family history. Her mother was born in Germany during the Second World War — a life marked by flight, the loss of a sibling to malnutrition, and the late return of a father she had never known. The silence surrounding these traumas left traces. “I think I have less trust in life than, for example, my husband,” Ettlin admits.

A late but determined artistic calling

A mother of three, Pascale Ettlin came to painting as a second career — though she had painted since childhood. After graduating from high school, she studied economics and geography at the University of Geneva, later specialising in health economics and working for the federal administration. Love brought her to Sarnen some twenty years ago.

Her artistic path truly began in her late thirties, under the guidance of Heinz Gadient, followed by studies at the Lucerne University of Art and Design (2011–2017). Influences such as Rachel Lumsden, an English painter based in St. Gallen, were particularly formative.

Now established with her own studio in Sarnen’s industrial district, Ettlin has painted more than 55 works in just two and a half years. She is often seen with her camera in the nearby Kernwald forest, her natural source of inspiration. One of her paintings, for example, was inspired by a site between Hohe Brücke and Paxmontana — where, near a small witch’s cottage, a mysterious presence seems to be hiding in the undergrowth. One can’t help but wonder what will happen next.

Exhibition note:
“Waldrausch” at Landenberg Sarnen ran until Sunday, January 26, 2020.