cornelia es said in ihrem signature-Mantel bei Ausstellungsvorbereitungen in den B.L.O. Ateliers.
Cornelia Es Said. Photo: © Mohamed Badarne

My body is my sole vehicle in this reality. It ages, has its idiosyncrasies, it is finite substance. Since accompanying people on the threshold of death during my time as a geriatric nurse, the knowledge of my own mortality has sat on my shoulder as an advisor. Not as a threat, but as a simple certainty: dying is not an end, but a door to other spheres where we are linked as nodes in a comprehensive structure.

This certainty drives me to grapple with ‘Real Life’: with the mechanisms of power that disrupt our common mesh. In series like The War Machine or single paintings like Big Money Bauta, I dismantle the anonymous masks of war and greed. I look back at revolutionary women (Théroigne) whose courage was pathologized, and at the fragility and strength of our Lady Democracy. My works are an almost archaeological uncovering of the human condition: Who are we (Homo Sapiens) in the face of the machinery?

In my studio at the B.L.O. Ateliers, silence often prevails—or loud music. Here, I dedicate myself to oil paint—a supple, enduring substance that I navigate with a nervous, searching, but also powerful and expressive stroke. It is a struggle for expression where much is destroyed and repurposed, until the statement, in my view, is set.

I perceive the virtual as one possible access point to this felt primal state of interconnection. But even this space has long been colonized. My interest in Cardano and blockchain stems from a search for reasonable, scientifically grounded structures to have a solid basis for experimentation. In an environment driven by profit, unconditional experimentation represents an attempt to reclaim digital sovereignty—Gaulish villages within the code.

While my studio is the place of concentration, the krautART ARTspace (2018–2026) was my space for gathering: a site for crafting, debate, and social intoxication. This era is coming to an involuntary close in March 2026. But before the keys are handed over, the exhibition ‘While the machine is running’ marks the final punctuation.


Portfolio

A selection of my work from 2016 to 2025 – thematically curated and visually condensed.
The portfolio is available as a PDF.