Natacha Donzé ꟾ valeurs refuge

Donzé thus creates a place of refuge, at the centre of which she places the painting Not built, but born – two heads facing each other like lovers in a silent encounter. Their emblematic presence suggests the existence of a portal, a connection beyond time, enveloped in a chromatic world of gold, poison yellow and sunset tones – a sacred yet consumerist atmosphere.

The works move in cyclical sequences between capital and emotions. Between the sacred and the synthetic, the born and the built, the intimate and the institutional.

A series of canvases unfolds, referring to architectural facades, fragments of stressed and shaped bodies and gestures, sweaty structures, touched surfaces, and speaking of bodies in which investments have been made.
Donzé combines visual languages from corporate images, religious spaces and biological systems.
Through her characteristic use of airbrush and modular formats, she explores the tension between what is man-made and what is inherent in humans – between the structures we build and the feelings that exist within them.

The exhibition forms a cycle: love and death, capital and desire, bodies and buildings, all held in a fragile, luminous balance.

The exhibition opens parallel to Berlin Art Week.


Swiss artist Natacha Donzé (born 1991 in Boudevilliers, Switzerland) creates enigmatic compositions that reflect on the order and ambivalence of the present through painting. Her works are characterised by her use of geometric divisions of the picture plane or the juxtaposition of several canvases to illustrate systems and power structures. Using airbrush techniques, she creates atmospheric, luminous areas of colour on which small, organic forms, painted with meticulous precision, usually emerge. These can be reminiscent of light reflections, water droplets, fire sparks, explosions or body cells under a microscope.

The artist uses images from political contexts, historical encyclopaedias, found press photographs or scientific image material from databases as references. Her canvases also evoke associations with landscapes captured by thermal imaging cameras, aerial photographs or satellite images, depicting a fragmentary and alienated reality.
Her works thus combine the aesthetics of digitally mediated images with ecological issues.