"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. You never know quite what to expect. Except in this instance I did, since the artist in question, Renée Chabot is someone that I have known for a few years. Her experimental photography, is indeed a mirror of her ebullient personality and whilst I’m always prepared for that, I am somehow always taken aback by the energy with which she exposes when sharing the rich narratives that spin from her work. So yes, Chabot is an experimental photographer par excellence but much more!
I first collaborated with Chabot three years ago on a project themed on a remarkable moment in history–the uprisings in South Africa and neighbouring Namibia in 1989. A story that depicts Chabot, as a 24 year old photojournalist, who happened to be 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 the beautiful suburbs of Zurich, with lake and mountains on tap. We’re soon immersed in the deep layers of Chabot’s practice, a treasure trove of creative experiments and modalities as well as completed and almost completed pieces that form an integral part of her home’s decor. Our reconnection is rich and rewarding and incredibly, despite our deep conversations, we manage to squeeze a moment to look in on one or two of Zurich’s finest art galleries.
As a writer, journalist and investigator and of art stores and recounter of narratives stories, I’m keen to piece together the different chapters of Chabot’s journey. I start 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 is a rich and rewarding experience and we agree to have a follow-up call to further explore her inspirations, delving in particular into her celebrated ‘Supraworld’ project.
On a call, some two weeks later, we meticulously plough through my questions, and in doing so the fuller picture emerges.
Early Influences and Education
Q. How did your inter-disciplinary background in photojournalism and architecture influence your approach to experimental photography?
Transitioning from classic analog photojournalism—working at Ringier Pressehaus, the Swiss headquarters of the Ringier media group in Zurich—to studying architecture at ETH Zurich, shaped my perspective profoundly. The shift marked a pivotal moment in which my photography work and architecture intersected, leading me to develop my hybrid approach, a concept which now defines 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.
Architectural studies, photographic explorations and entrepreneurial success
Q. Can you share any pivotal moments during your education at ETH Zurich that significantly shaped your artistic vision?
From a full-time job in photography, I transitioned to architecture studies at ETH Zurich. Professor Flora Ruchat-Roncati, one of the most beloved and respected professors among the students in the architecture department, encouraged my experimental approach, shaping my mindset through and her humanistic view of life and design.
Furthermore, Professor Peter Jenny’s art classes within the architectural department at ETH, provided a vital space for exploration beyond profit-driven conventions, fostering my visual experimentation and pushing the boundaries of perception and reality. In my final semesters, Professors Adrian Meyer and Ruggero Tropeano further encouraged this spirit of inquiry, inspiring students to challenge architectural norms at a time when pseudo-modernism—driven purely by financial gain—was producing sterile, faceless box designs. Originating in the 1970s, this trend not only eroded Switzerland’s architectural identity but continues to shape global architecture today.
I also took on photography commissions during my studies. Frustrated by the lack of options that matched my vision, I began creating my own solutions, leading to several experimental designs—some of which I later patented under the name 'ambiance lighting.
After graduating, my lighting designs began to gain traction, and, driven by sheer determination and passion, I founded a small lighting company. However, to finance the startup, and production costs I had to take on high-paying photography commissions. Balancing both meant effectively working two full-time jobs, leading to years of long workdays and inevitable personal sacrifices.
At the time, In.grid VIP, my ambient lighting sculptural invention was the cornerstone of my lighting product portfolio. Through layered designs that fragment light and shadow in three dimensions, the sculpture embodies the energy of a Constructivist OP art piece, producing mesmerising moiré effects. In 2004, this invention was showcased 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.
The In.grid collection later expanded into various European markets despite certain distribution challenges, and was successfully exhibited and sold at multiple fairs until 2012. Designed to enhance atmosphere rather than serve purely functional purposes, the concept of layered ambient lighting—once dismissed and even ridiculed—has since evolved into a dominant industry trend which which I feel proud to be the pioneer of.
Supraworld: Concept and Themes
Q. You describe 'Supraworld' as a photographic fairytale. Can you share your thoughts on what defines 'Supraworld'
Supraworld explores the profound interconnectedness of all life and its cycles—both 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 serves as a representation of the antithesis of these ideals.
At the heart of this tale is a thriving, free-roaming, long-living community of poultry in the Crystal Palace Park in Porto, Portugal, which coexists 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 perceive reality from both above and below, examining it from multiple perspectives, much like birds navigating between the Earth and the sky. Supra refers to surrealism, where imagination expands beyond the constraints of conditioned human thought, speech, and action. As such, Supraworld can be interpreted as a potential utopian world.
Unlike my other photographic projects, Supraworld seems very different—although it is also based on the same concept of 'dematerialisation' and 'layers.' The project is shaped by my personal loss: the heart-wrenching death of my twin brother, Jan, whose rare combination of empathy, generosity, and inventive brilliance blew fresh air into a society that often exploits such qualities of kindness and empathy. His absence brought to mind a utopian tale about humanity’s connection to nature and the cosmos and their timeless cycles of life and death. It evoked thoughts on how societal value systems shift in response to socio-economic-technological changes, influencing perception, thinking, and feelings in each epoch. The fascination with those patterns has influenced my work for a very long time.
Supraworld is an act of re-imagination and reconstruction that underscores 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—stripped much of life’s enchanting, soulful dimensions. All of this has been done in pursuit of minimal investment and maximising short-term profit. Sadly, this mentality fosters an ever-enduring, polluting throwaway consumer culture, at the expense of the intricate, long-evolved equilibrium of life on Earth. Supraworld aims to call this out.
By blending reality—unaltered documentary-style portraits of birds and plants—with utopia ideals, the work challenges perceptions that are shaped by mass media. By harnessing the evocative power of creativity, my project aims to deepen awareness of the importance of freedom of thought and speech, inspiring people of all ages to shape and manifest their own desired reality.
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 emotional experience. Avoiding a cultural trend of over-intellectualisation, I aim to reach audiences across all cultures, ages, and educational backgrounds.
Fairy tales hold immense power because of their inventiveness—they are pure creativity turning the impossible into reality. They inspire dreams, instil hope, and give us strength. Dreaming is a form of pre-materialisation, the essential step toward shaping a reality. Even science supports this—studies show that creativity helps renew neural pathways, sharpen focus, and enhance memory, all of which drive true evolution or even revolution.
Thus, a fairytale is not escapism or decoration—it’s the opposite—it creates a tangible, magical space that becomes a crucial foundation for manifesting reality. That’s why, throughout history, utopian ideas and fairytales have stood as powerful counterforces, challenging the status quo and inspiring transformation.
Q. Can you explain for our readers the meaning of Umuntu and how it shapes the storyline in ‘Supraworld’?
Umuntu is a profound philosophical concept that embodies the interconnectedness of all things—earth, humans, animals, nature, and the cosmos. Derived from the Southern African philosophy of Ubuntu, it conveys the idea of "I am because we are," emphasising unity and our shared existence. The philosophy reinforces the understanding that no being or entity exists in isolation; everything is intrinsically linked and mutually dependent. Through positive, constructive connectedness, everyone becomes stronger and experiences a clearer perception of the world.
So, 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—existing only in the skies—embody the sense of cosmic interconnectedness. The juxtaposition of celestial phenomena serves as a poignant 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 inextricably linked. The profound influence of cosmic cycles—through stars and planets impacting climate—has shaped life on Earth for billions of years. Yet, in just a few thousand years, particularly over the past two to three centuries, human population growth and interference have caused unprecedented unnatural imbalances, dramatically poisoning the environment and leading to an unparalleled decline in biodiversity.
Awareness of our interconnectedness is crucial for addressing the ongoing crisis of pollution and the excessive commodification—and even offers us hope. After a century of largely fruitless debate, we are finally seeing slow but meaningful progress, offering genuine optimism for the future. Reconnecting with nature, free from the distractions of digital devices, is one of the simplest and most immediate ways to restore balance. Nature nurtures physical health, strengthening the immune system, and the spirit.
Through its creative expression — whether in art, craftsmanship, or other forms of human endeavour, Umuntu offers a vital and healing counterforce, that stimulates neurological pathways, nurtures intuition, and enhances problem-solving abilities, including memory and focus. This connection to creativity not only empowers individuals but also strengthens the collective, deepening our understanding of the real world and helping us navigate the complexities of modern existence while distinguishing truth from falsehood.
Ultimately, Umuntu in Supraworld encourages us to reframe our understanding of existence, shifting from a fragmented and narcissistic modern vanity culture to 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 and what is missing.
Q. The happy poultry community and wild birds are central to your story. What is their significance, and how do they serve as messengers of the soul?
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 stable symbols in an ever-changing world. The poultry community in Crystal Palace Park, Portugal, represents joyful longevity, while the wild birds evoke the untamed energy of total freedom. Together, they can inspire the onlooker to have a deeper consciousness about poultry being much more than mere, short-lived commodities existing only to be eaten or exploited for eggs and feathers.
Age racism and commodification of all life go hand-in-hand. Let me explain why I say this. Corporate profit-driven functional age racism in the human workforce—starting as early as 45 and almost entirely by 50,—represents a disgraceful, shocking form of an unacceptable and even vulgar age discrimination. It mirrors perfectly the commodification of animal and human life. Poultry raised naturally in a caring, healthy environment can live 5–10 years or more, with peacocks reaching 25–30 years and geese around 20 years. This stands in a dramatic contrast to their counterparts in industrial mass production systems, where lifespans are typically reduced to just a few days, weeks, or months—reaching at most, one year.
Q. In ‘Supraworld’, the birds appear larger-than-life with the beholder meeting them eye-to-eye. What does that signify, and how does it contribute to the overall message of your work?
In Supraworld, the birds are deliberately presented on a larger-than-life scale to emphasise their individuality and character. By meeting them at eye level, looking directly into their gaze, the beholder is invited into a space where the boundaries between species momentarily dissolve, fostering a sense of equality. Encouraged is a deeper connection with the birds and plants—not as distant commodities or decorative objects—but as fellow beings with intrinsic value, emotions, and distinct personalities, much like ourselves.
Q. Through the ’Supraworld’ photo series,’ 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 dynamics between the natural world and the impact of industrialisation on biodiversity, are well-documented by others. This photo series and animated photography installation further highlights my take on the growing disconnection between people and nature. Such detachment is often driven by the extreme pressures of daily life, with work and family responsibilities as well as social life, and increasingly endless administrative duties adding to the burden for many, including myself.
The overwhelming presence of screens and the constant rush to keep up with too much in too little time further compounds the problem. These factors can lead to subtle, gradual alienation in both perception and emotion, resulting in a loss of connection with self and surroundings. It is particularly difficult for segments of the population that live in large cities with sprawling urban environments, where direct contact with nature is limited. Similarly, those living in extreme poverty—where survival is a constant struggle—often have little time for such reflective luxuries. Therefore, I consider those of us with regular free time and direct access to nature, incredibly privileged.
Through the portrayal of vibrant, larger-than-life birds, I seek to highlight both nature's resilience and its vulnerability to industrial forces and human alienation. I suppose I am encouraging a meditation on our personal relationship with the Earth in a vast galaxy that is both humbling and awe-inspiring.
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 had with the birds. Over time, as I returned to the park and shook the bag of food, 20–30 poultry birds of various breeds would rush toward me—not only recognising my presence but also knowing they’d be getting a nice 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. There were naughty and shy ones, much like in human communities, where the bullies often get it all.
The process of capturing these moments which unfolded slowly over three years, as a side project first across different seasons, was deeply intertwined with other very significant projects, as well as my enduring grief over my twin brother, Jan.
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 like the delicate threads of life. They are strong yet vulnerable—binding together the unseen relationships between humans, animals, nature, the Earth, and the cosmos, while reflecting the impact of behaviours, policies and societal structures that benefit 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 contrasting, unpoetic toll of excessive, health-damaging stress on both people, animals, and the planet’s resources, are the root causes of many challenges.
For me, crafting a visual narrative is about striking a balance between concept and depth of meaning while striving for universal accessibility and ensuring that the work speaks not only to one’s intellect but also to the soul. I believe true connection emerges when imagery resonates on a deeply personal level, offering space for individual interpretation and fostering emotional engagement. It is, therefore, an open invitation to be and to feel, leaving as much space to the viewer, rather than an attempt to impose a fixed perspective or a detached ideology.
Q. What realisations or awakenings do envision 'Supraworld' can offer viewers about their connection to nature and the world around them?
Viewers have shared that they appreciate the soulfulness of Supraworld, and feel deeply drawn to the animals themselves and particularly how they are depicted in the photographs and animated photography within the video installation. The music: Navajo drums and bird voices creates a hypnotic, and immersive rhythm, and guides the experience beyond intellect into a more instinctive, reflective state, inspiring the viewer to visit the gardens in Porto and see its animals and nature with fresh eyes.
Many 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 “caged” again. 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 could not have been a more fitting exhibition space for my ideas for Supraworld.
Concept and Technique
Q. Your concept of ‘dematerialisation’ is intriguing. Can you elaborate on how this idea developed and how it influences your work?
“Dematerialisation” is a central concept in my entire body of work, where it manifests in various formal expressions—pushing the boundaries of photography with aspects akin to painting, sculpture, and animation, while staying rooted entirely in the photographic medium itself. More specifically, I should expand it to say that “dematerialisation” and “materialisation" are energy concepts that are inseparable—like the aggregate states of certain elements in solid, liquid, and gaseous forms, or like thoughts before they manifest into tangible reality.
The interplay between dematerialisation and materialisation goes beyond technique or documentary representation. For me, it represents both a personal and a universal transformation of perception, energy and communication, going beyond the limiting ego—creating an interplay that leads to a state of hybridisation, where the invisible becomes visible and vice versa.
Q. Can you explain the meaning and purpose of three-dimensional photography in the context of your work?
The technique itself is always project-dependent. As in my series Multiverse, it can be constructed manually through three-dimensional transparent sculptures combined with classic photography and multiple exposures. Or, it can be based on a fusion of analog and digital, or the integration of new technologies. Each technical approach is guided by the theme.
Q. As a humanist, how do you see your work contributing to the broader human experience and social dialogue?
First and foremost, my work aims to evoke feelings, that resonate within the soul. While tastes may vary, there is a clear hunger for authenticity, warmth, and even love—qualities that cannot simply be bought. Yet, in a piece of art, they can shine forever, offering a lasting presence on a wall or as an installation, that continues to inspire and connect.
Q. Your work explores the influence of socio-political and cultural forces. How do you decide which aspects of society to reflect in your art?
The aspects of society reflected in my art depend on the specific project at hand. For example, “Supraworld” examines consumer habits, ecological aspects and biodiversity, human selfishness and the exploitation of the voiceless. “Multiverse” delves into the power of belief systems and how they shape reality, represented in each epoch, along with their societal value hierarchies. ‘In-visible’ explores the complexities of the human soul, represented through the materialisation of shadows on a wall, captured in photographs and video, featuring un-rendered moving shadows on a city wall.
‘In-between’ examines the powerful invisible forces within architecture and questions its role in today’s world, where the increasing global population places ever-greater demands on space and design. It reflects on how architecture influences human experience and emotions, and how it adapts—or fails to—amid growing urbanisation.