"Photography does more than document reality—it actively participates in constructing it."
An interview with Experimental Photographer Renée Chabot
By Hazel Clarke
I love it when the word ‘experimental’ is placed in front of an artistic discipline. It’s a delicious invitation to expect the unexpected. Except in this instance, not so — because the artist in question, Renée Chabot, happens to be a treasured friend. Her experimental photography is a mirror of her ebullient personality, and while I’m always braced for a surprise, I’m still taken aback by the sheer force of energy she unleashes when sharing the rich, layered narratives that spin from her work. So yes, Chabot is an experimental photographer par excellence — but she’s also so much more.
I first collaborated with Renée Chabot three years ago on a project themed on a remarkable moment in history—the uprisings in South Africa and neighbouring Namibia in 1989. It tells the story of Chabot as a 24-year-old photojournalist who found herself in the right place at the right time, capturing the spirit of the events on celluloid as they dramatically unfolded.
We haven’t seen each other for about two years and we reconnect in her apartment-atelier in one of Zurich’s beautiful suburbs, with lake and mountains practically on tap. We’re soon immersed in the deep layers of Chabot’s practice—a treasure trove of creative experiments and modalities, alongside completed and almost completed pieces that form an integral part of her home’s décor. Our reconnection is rich and rewarding and, incredibly, despite our deep conversations, we manage to squeeze in a moment to look in on one or two of Zurich’s finest art galleries.
As a writer drawn to investigating powerful art narratives and their lingering truths, I’m keen to piece together the chapters of Chabot’s journey. I begin to visualise the spirit behind her practice—its twists and turns, the shape-shifting from architecture to photojournalism, from lighting entrepreneurship to experimental photography. Our day together unfolds as a rich archive, blending memory with what’s still to come. We agree to continue the conversation with a follow-up call, to delve deeper into her inspirations—focusing especially on her celebrated ‘Supraworld’ project.
Our Conversation
On a call, some two weeks later, we meticulously plough through my questions, and in doing so the fuller picture emerges.
Architectural studies and photographic explorations
Q. How did your inter-disciplinary background in photojournalism and architecture influence your approach to experimental photography?
"My shift from classic analogue photojournalism—working at Ringier Pressehaus, the Swiss headquarters of the Ringier media group in Zurich—to studying architecture at ETH Zurich profoundly impacted how I perceive and interpret the world. It marked a pivotal moment where photography and architecture began to converge, prompting the development of a hybrid approach that now underpins both my architectural design and photographic work. Moreover, the progression from two-dimensional architectural drawings to three-dimensional models naturally deepened my spatial awareness and enriched my creative process.
Q. Can you share any pivotal moments during your education at ETH University, Zurich that significantly shaped your artistic vision?
"After working full-time in photography, and transitioning to studying architecture at ETH, Professor Flora Ruchat-Roncati—one of the most beloved and respected figures in the department—encouraged my experimental approach, shaping my mindset through her humanistic view of life and design.
Q. I understand that you achieved entrepreneurial success early on, how did that happen?
"While still a student, I took on photography commissions. Frustrated by the lack of options that reflected my vision, I began crafting my own solutions—leading to a series of experimental designs, some of which I later patented under the concept of layers.
"After my Masters, my lighting concepts began to gain traction. Driven by conviction and quiet persistence, I founded a small lighting company. To finance the startup and cover production costs, I continued accepting high-paying photography commissions. Balancing both meant effectively working two full-time jobs—years marked by long workdays and personal sacrifices, yet also by a deepening sense of purpose.
"At the time, In.grid VIP—my ambient lighting sculptural invention—formed the cornerstone of my lighting product portfolio. Through layered designs that fragment light and shadow in three dimensions, the pieces channels the energy of a Constructivist Op Art work, producing mesmerising moiré effects.
"In 2004, my lighting was included in the collection of the Museu de Arte Brasileira da Fundação Armando Alvares Penteado in São Paulo, Brazil, as part of the group exhibition Illuminar: Design da Luz 1920–2004. I was honoured to be invited and fully sponsored by the Centre Georges Pompidou in Paris, the Musée des Arts Décoratifs in Paris, and the Vitra Museum in Basel.
"Despite distributor setbacks, the In.grid collection later expanded into several European markets, and was successfully exhibited and sold at multiple design fairs until 2012. Conceived to elevate atmosphere rather than serve purely functional ends, the concept of layered ambient lighting—once dismissed, even ridiculed—has since become a defining industry trend. I’m proud to have pioneered its early expression."
'Supraworld'
Q. Moving on to 'Supraworld', which you describe as a photographic fairytale — what ideas or qualities give the project its distinctive character?
"Supraworld explores the profound interconnectedness of all life and its cycles—on Earth and across the cosmos—emphasising freedom, the critical need for diverse perspectives in a true democracy, and the importance of biodiversity. The mass poultry industry stands in stark contrast to these ideals.
"'Supraworld', for me, is about recognising the deep interconnectedness of all life—its rhythms—not just here on Earth, but stretching out into the universe. It’s rooted in freedom, in the richness that comes from truly diverse perspectives, and in the importance of biodiversity. These things aren’t just ideals—they’re necessities. And when you look at something like the mass poultry industry—a system built on uniformity, control, and disconnection—it’s hard not to see it as the opposite of everything 'Supraworld' holds sacred.
"At the heart of this tale is a thriving, free-roaming, long-living community of poultry in Crystal Palace Park in Porto, Portugal, coexisting harmoniously with wild birds. Their lives stand in stark contrast to the often cruel, short-lived existence of their feathered fellows in mass production industries.
"The term “Supra” evokes transcendence—the ability to see reality from both above and below, to shift perspective, much like birds navigating between the Earth and the sky. It also speaks to surrealism, where imagination stretches beyond the limits of conditioned thought, speech, and action. In that sense, Supraworld becomes a kind of conceptual utopia—one that invites us to reimagine what’s possible.
"Unlike my other photographic projects, 'Supraworld' feels quite different— though it’s still rooted in the same ideas of ‘dematerialisation’ and layered realities. It’s a project inspired by personal loss: the heart-wrenching death of my twin brother, Jan. He had this rare mix of empathy, generosity, and inventive brilliance that breathed life into a world that often takes advantage of those qualities. His absence stirred something in me—a kind of utopian story about our connection to nature and the cosmos, and the timeless cycles of life and death.
"It made me think about how our values shift with changes in society, technology, and the economy—influencing how we see, feel, and think in different eras. This fascination with patterns and transitions has been part of my work for as long as I can remember.
"'Supraworld' is an act of re-imagination and reconstruction—one that highlights the delicate balance between technological progress and ecological responsibility. While industrialisation has undoubtedly brought advancements and many blessings, it has also fuelled widespread environmental pollution, fractured ecosystems, and—through the commodification of everything—drained much of life’s enchantment and soulful depth. All of this has happened in the name of minimal investment and maximising short-term profit. And sadly, that mentality has given rise to a polluting, throwaway consumer culture—one that endures at the expense of the intricate, long-evolved equilibrium of life on Earth. 'Supraworld' seeks to confront that.
"By blending unaltered, documentary-style portraits of birds and plants with utopian ideals, I’m offering a different lens on reality. In doing so, I’m taking on perceptions shaped by mass media.Through the evocative power of creativity, this project strives to deepen our awareness of the importance of freedom—freedom of thought, freedom of speech—and encourages people of all ages to envision and manifest the reality they truly desire.
Q. How does the fairytale element influence the storytelling within the work?
"The fairytale narrative is intentionally crafted to invite viewers into a more intuitive, poetic, and emotionally resonant experience. By sidestepping the cultural trend of over-intellectualisation, I aim to engage viewers across diverse cultural and demographic spectrums.
"Fairy tales hold immense power because of their inventiveness—they’re pure creativity, turning the impossible into reality. They spark dreams, instil hope, and give us strength. Dreaming, I believe, is a kind of pre-materialisation—an essential step toward imagining and eventually living a new reality. Even science backs this up: studies show that creativity helps renew neural pathways, sharpen focus, and enhance memory—all of which can drive real evolution, or even revolution.
"So a fairytale isn’t escapism or decoration—it’s anything but that. It creates a real, magical space that becomes a vital foundation for manifesting change. That’s why, throughout history, utopian ideals and fairytales have acted as powerful counterforces—challenging the status quo and awakening transformation.
Q. Can you explain the meaning of Umuntu and how it shapes the storyline in ‘Supraworld’?
"Umuntu is a profound philosophical concept that speaks to the interconnectedness of all things—earth, humans, animals, nature, and the cosmos. Rooted in the Southern African philosophy of Ubuntu, it expresses the idea: “I am because we are,” emphasising unity and our shared existence. It reminds us that no being or entity exists in isolation; everything is intrinsically linked and mutually dependent. Through positive, constructive connectedness, we grow stronger and begin to see the world with greater clarity.
"The concept of Umuntu runs throughout 'Supraworld'’s fairytale narrative, unfolding through surreal photographic and photo-animated scenes. Birds and plants appear in their pure documentary form, unchanged, while meteorological phenomena and celestial bodies—visible only in the skies—evoke a sense of cosmic interconnectedness. Their juxtaposition becomes a quiet yet powerful reminder of the illusion of human supremacy and the false divide between humanity and the greater universe.
"The truth is that all ecosystems—earthly and cosmic—are bound in a subtle symbiosis. For billions of years, the rhythms of stars and planets have shaped Earth’s climate, gently guiding the evolution of life. Yet in the blink of a cosmic eye—just a few thousand years, and especially over the last few centuries—human excesses and interference have disrupted these ancient balances, poisoning the environment and triggering an unprecedented collapse in biodiversity.
"Still, the deeper truth remains: we are not separate from these systems. We are part of them—an unseen exchange of breath, energy, and presence. To live is to relate.
"Awareness of our interconnectedness is essential—not only for tackling the ongoing crisis of pollution and excessive commodification, but also for offering hope. After a century of largely circular debate, we’re finally seeing slow, meaningful progress—enough to feel a sense of genuine optimism. Reconnecting with nature, away from the constant pull of digital devices, is one of the simplest and most immediate ways to restore balance. Nature nourishes both the body and the spirit, strengthening the immune system and calming the mind.
"Through creative expression—whether in art, craftsmanship, or other forms of human endeavour—Umuntu offers a vital and healing counterforce. It awakens intuition, stimulates neural pathways, and enhances our ability to focus, solve problems, and remember. This connection to creativity not only empowers the individual, but also strengthens the collective, deepening our understanding of the real world and helping us navigate its complexities—especially when it comes to discerning truth from illusion.
"Ultimately, Umuntu in 'Supraworld' invites us to reframe how we understand existence—shifting away from a fragmented, narcissistic culture of modern vanity, toward one that celebrates the inherent unity of all life.
Q. How do the concepts of presence and absence play into this narrative?
"In 'Supraworld', the themes of presence and absence are central to exploring marginalised, silenced, and voiceless entities—such as poultry in mass industrial settings. By minimising human presence and amplifying these larger-than-life birds, I invite the viewer to meet them on equal terms, fostering empathy and dissolving the boundary between humans, birds, and plants. The absence of my twin brother further heightens this dynamic, deepening the tension between what is present versus that which is missing.
Q. Why did you specifically choose the poultry community and wild birds to convey your message?
"Since ancient times, animals—especially birds—have been messengers of the soul, symbolising freedom, peace, love, truth, and strength. In 'Supraworld', both the happy poultry and wild birds embody these qualities, serving as powerful and grounding symbols in an ever-changing world. The poultry community in Portugal's Crystal Palace Park, represents joyful longevity, while the wild birds evoke the untamed energy of total freedom. Their presence encourages the observer to reconsider poultry—not as short-lived commodities bred for consumption or the harvesting of eggs and feathers, but as beings worthy of reverence, joy, and deeper connection.
"Ageism and the commodification of life reflect the same corrosive logic. In today’s workforce, corporate profit-driven age discrimination—beginning as early as forty-five and escalating throughout a person’s fifties and sixties—is both unacceptable and unjust. It’s a systemic form of exclusion that strips individuals of dignity and worth based solely on perceived economic utility. And it mirrors, with chilling precision, the way both human and animal life are reduced to disposable assets.
"Consider poultry raised in natural, caring environments: they can live five to ten years, peacocks up to thirty, and geese around twenty years. Yet in industrial systems, their lifespans are brutally compressed—measured in days, weeks, or months, rarely exceeding a single year.
"The birds' presence is magnified to celebrate individuality and character. They are not background elements—they command attention. Meeting them at eye level, locking into their gaze, the viewer enters a space where species hierarchies are calmly dismantled, and a quiet sense of parity settles in gracefully.
"This moment encourages a deeper connection. Birds and plants are no longer distant commodities or ornamental flourishes. They emerge as fellow beings—each with intrinsic worth, emotional depth, and distinct personalities, echoing our own.
Q. Can you share any particularly memorable moments or experiences during the creation of 'Supraworld'?
"Absolutely—one of the most profound aspects of creating 'Supraworld' was the deep relationship I developed with the birds. Over time, as I returned to the park and shook the bag of food, twenty to thirty poultry birds of various breeds would rush toward me—not just recognising my presence, but anticipating a treat.
"Some even allowed me to touch them—an exchange built on trust rather than mere instinct. Birds, like humans, sense intention and connection—they know when they are truly seen. In a way, I became a kind of bird whisperer, observing their interactions, individual characters, and rhythms. Some were naughty, others shy—much like in human communities, where the bullies often get it all.
"Capturing these moments began, firstly, as a gentle side project—gradually unfolding over three years and evolving through the shifting light and rhythms of the seasons. At the same time, it was deeply intertwined with other significant creative work, and with my enduring grief over my twin brother’s passing.
Q. Through the ’Supraworld’ you draw a stark contrast between the natural world and industry’s impact on biodiversity. Could you elaborate on this interplay and its significance in your work?
"The relationship between the natural world and the impact of industrialisation on biodiversity has been extensively documented by others. This photo series and animated photography installation offer my own perspective on the growing disconnection between people and nature. That sense of detachment is often fuelled by the relentless pressures of daily life—work, family responsibilities, social obligations, and increasingly endless administrative tasks—all of which contribute to the burden felt by many, myself included.
"The overwhelming presence of screens—and the relentless pace we’re all trying to keep up with—only make things worse. Over time, these pressures can lead to a slow, often imperceptible kind of alienation, reflected in how we act and how we feel. We begin to lose touch with ourselves and the world around us.
"This disconnection tends to be especially stark in big cities, where sprawling urban environments leave little room for direct contact with nature. And for those living in extreme poverty, where every day is a fight to survive, there’s rarely space for that kind of reflection. That’s why I think those of us with regular free time and easy access to nature are, frankly, deeply privileged.
"By portraying vibrant, larger-than-life birds, I aim to illuminate both the resilience of nature and its fragility in the face of industrial forces and human detachment. What emerges hopefully is a contemplative meditation on our personal relationship with the Earth—set within a vast galaxy that is at once humbling and awe-inspiring."
Viewer Engagement and Reception
Q. How would you like viewers to respond to the themes of connection and fragility in Supraworld? What do you see as important when crafting a visual narrative, and how do you ensure it resonates with your audience?
"I believe that connection and fragility intertwine. They are strong yet vulnerable—binding together unseen relationships between humans, animals, nature, the Earth, and the cosmos. Such interrelations illuminate how personal choices, structural systems, and societal hierarchies disproportionately serve the elite. I hope to poetically convey that the interconnectedness of all existence is real. The silent tension between freedom and constraint, the fleeting beauty of life, and the harsh toll of excessive, health-damaging stress—on people, animals, and the planet’s resources—are at the root of many existential burdens.
"For me, crafting a visual narrative is about striking a balance between concept and depth of meaning, ensuring the work engages both the intellect and the soul while remaining universally accessible. I believe true connection emerges when imagery resonates on a deeply personal level, creating space for individual interpretation and inviting emotional engagement. It is, therefore, an open invitation to feel and to be—leaving room for the viewer’s own experience rather than imposing a fixed perspective or detached ideology.
Q. What realisations or awakenings do think 'Supraworld' can offer viewers about their connection to nature and the world around them?
"Viewers have shared that they appreciate the soulfulness of Supraworld, feeling deeply drawn to the animals themselves, and particularly to how they’re portrayed in the photographs and the animated photography within the video installation. The music—featuring Navajo drums and birdsong—creates a hypnotic, immersive rhythm that guides the experience beyond intellect, into a more instinctive and reflective state. It inspires viewers to visit the gardens in Porto and to see its animals and natural surroundings with fresh eyes.
"Many people have also remarked on how powerfully the setting reinforces the concept. Exhibiting in a former prison—transformed into the Photomuseum Centro Português de Fotografia (CPF)—where the park’s free-roaming poultry found themselves symbolically “caged”. This contrast sparks a poignant dialogue between those subjected to lifelong confinement and those living in natural freedom. It was precisely this conceptual depth that made me so grateful to accept the invitation from Dr. Bernardino Castro, Director of CPF, to exhibit there—it felt like the perfect space to bring Supraworld to life."
Exhibitions and Recognition
Q. What does it mean to you to have your work exhibited in galleries and photo festivals? How has this recognition influenced your creative journey?
"Exhibiting my work in galleries and photo festivals is deeply meaningful and rewarding, as it allows me to communicate with the world through photography—creating an infectious energy for me, the artist, the gallery or festival, and also for viewers and collectors.
"Photo festivals, in particular, bring an added layer of fulfilment. In addition to providing a platform for showcasing your work, they also offer opportunities to reconnect with the broader "photo family". These events are for me an invaluable space for exchange, friendship, and shared passion, creating a significant milestones in my creative journey.
Q Can you share any memorable experiences from your exhibitions—for example your exhibition at the Centro Português de Fotografia (CPF), Les Rencontres de La Photographie in Arles or FIX Photo in London—that have influenced your work?
"Exhibiting at the Centro Português de Fotografia (CPF) was truly an honour. Conceptually, it was the perfect space to present 'Supraworld'’s “Free Poultry,” as the project was displayed in a powerful space within a former prison that had been transformed in the 1990's into a stunning Photo museum by Eduardo Souto de Moura and Humberto Vieira.
"This experience was eye-opening—not only artistically, but also in terms of gaining a deeper understanding of the complex and often challenging dynamics of museum politics in Portugal.
It was both fascinating and, at times, frustrating to witness the dedication of the CPF team, who work tirelessly to keep the museum alive despite outdated and counterproductive regulations within the art sector. Their resilience is truly admirable and deeply inspiring. I remain hopeful that meaningful change will come with time.
"London, at that moment, was one of my favourite cities. The experience of exhibiting at the Fix Photo Festival took on an even greater meaning due to receiving a personal invitation to attend and the experience of being surrounded by such an inspiring and supportive community of photographers, guests, and friends. The sense of solidarity was palpable, making the experience all the more enriching.
"Les Rencontres de la Photographie in Arles selected Supraworld for its 50th anniversary which was a thrilling moment. Being part of the festival gave me a fresh perspective, and although my exhibition was short, it was deeply rewarding.
"Each of these three experiences—and there have been quite many more—has had an influence on my career and work process, not just in terms of exposure, but also by deepening my understanding of how my practice intersects with the broader art world and political landscape."
Future Projects and Vision
Q. What new projects or ideas are you currently exploring, and what can we look forward to seeing from you in the near future?
"Yes, I’m actively engaged in several high-priority projects, alongside the demands of my other professional commitments. One notable project is the first book in a planned trilogy, which spans three significant phases of my work and life across three different continents. The first, already well-developed, is now ready to move forward. It explores analogue archival works with historic relevance, combined with experimental interventions. These works address both social issues and their direct and indirect connections to architecture. I’m eager to advance this project with a dedicated team, as these works form the foundation of my past, and will enable future developments building on my architectural background.
"Additionally, I’m working on two contemporary series. These projects also incorporate experimental elements, and while time management remains a challenge for me, I am confident in their eventual realisation. Collaboration is key as their scope is a collective effort.
Q. How do you envision the future of experimental photography, and what role do you see yourself playing in its development?
"Over the years, experimental photography has grown into a dynamic and influential movement. I’ve observed this evolution firsthand, particularly through my exhibitions of Multiverse at the FIX Photo Festival in London (2016) and the Encontros da Imagem International Photo Festival in Braga, Portugal. I believe this movement will continue to gain prominence and become a central force in contemporary artistic photography.
"In an era marked by the overwhelming saturation of traditional two-dimensional photography, there’s a growing appetite for singular, distinctive works. More and more, experimental approaches are reshaping the photographic landscape, offering fresh perspectives and pushing the boundaries of the medium. While innovation thrives, I believe the enduring appeal of classic as well as contemporary documentary photography will hold strong—driven by a deep-rooted desire for authenticity and a timeless impulse to convey truth in its purest form.
"Sharing knowledge has always been deeply important to me, especially with those who are passionate about learning and engaging in meaningful, respectful exchanges.
"Looking ahead,I wish to contribute to experimental photography through both my existing works and future explorations. I’m open to joyful collaborations
rooted in integrity and mutual loyalty. Above all, it’s honesty, humour, and genuine professionalism that I value most."
Renée Chabot's full reference list can
be found here
Credits:
Photography: Main images and background images by Renée Chabot