Laurence Aëgerter

10/04/2026

‘Le Torero mort’ (’The Dead Bullfighter’)

This photograph stems from a beautiful story.
In the building where my studio is located, a neighbouring artist was an elderly painter who also gave painting lessons.
I sadly realised he had passed away when I saw his wife clearing out his studio.
That is how a pile of art books came to be left outside his door, intended for the other artists in the building, so that we might find something to our liking.

I chose ‘Manet’. As I opened it on the table in my studio, the book fell open to the double-page spread illustrating ‘The Dead Bullfighter’.
A loose, typewritten sheet was tucked at the back of the book, patiently listing all the painting styles of the last 150 years.
A salamander-shaped stain appeared in the margin.

That page spontaneously settled on the bullfighter’s torso. The sun was shining into the studio.
I immediately became aware of the shadow cast by my wooden window. I remembered my ‘Cathedrals’.
The image before my eyes was calling out to life.

Very happy to have this work exhibited today with 💫

28/03/2026

Fabulous and complex proces of realising Bone China porselein lithophanes at the European ceramic work center,
I am deeply grateful to the ceramic experts who guided me and the young artists who helped me in the journey. Honored to given support by and ppowerktuig 🙏🌞
For the first time now on show at with the … to be continued!

28/03/2026

Magic proces of realising a bone china porselein lithophane at the european ceramic work center, The Netherlands.

I am extremely grateful for all the support of the ceramic experts and the young artists giving me a hand at the EKWC

For the first time now on show at artrotterdam with ..to be continued!

28/03/2026

Magic proces of realising a bone china porselein lithophane at the european ceramic work center, The Netherlands

I am extremely grateful for all the support of the ceramic experts and the young artists giving me a hand at the EKWC

For the first time now on show at to be continued!

25/03/2026

Making of -

See you tomorrow at with the gallery ✨✨

25/02/2026

Unexpected art commission!
Warm thanks to the Institut français of Russia in Moscow and for their trust and their Carte Blanche.

I decided for a series of four murals with the text “Doubt is the Shadow of Truth.”

Realised at Fabrika, the handshadows and the text are facing the streets and inviting passersby to reflect upon projected realities.

The text is inspired by a poem from Philip James Bailey in Festus: a Poem (1839).

A special thank to Fabrika and its Director and to the artist Anastasiya Dunaeva () for painting this murals on the site.


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Une commande artistique inattendue !
Un grand merci à l’Institut français de Russie à Moscou pour sa confiance et sa carte blanche.

J’ai opté pour une série de quatre fresques murales avec le texte « Doubt is the Shadow of Truth » (Le doute est l’ombre de la vérité).

Réalisées à Fabrika, les ombres chinoises et le texte font face à la rue et invitent les passants à réfléchir sur les vérités projetées.

Le texte s’inspire d’un poème de Philip James Bailey dans Festus : a Poem (1839).

Un grand merci à Fabrika et à son directeur, ainsi qu’à l’artiste Anastasiya Dunaeva () pour avoir peint ces fresques murales sur le site.

20/02/2026

Thank you to the Institut français of Russia for commissioning a series of four murals in Moscow!

Created at Fabrika and facing the street, these paintings invite passersby to pause and reflect on the phrase:
“Doubt is the shadow of truth.”

The original text is by Philip James Bailey, from Festus: a Poem (1839).

Special thanks to Russian artist Anastasiya Dunaeva () for bringing this mural to life, and of course to Fabrika and the Institut français for their trust and support.



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Un grand merci à l’Institut français de Russie pour la commande, cette année, d’une série de quatre fresques murales à Moscou.

Réalisées à Fabrika et ouvertes sur la rue, ces peintures invitent les passants à suspendre leur regard autour de cette phrase :

« Le doute est l’ombre de la vérité. »

Le texte original est de Philip James Bailey, extrait de Festus: a Poem (1839).

Un immense merci à l’artiste russe Anastasiya Dunaeva () pour avoir donné vie à cette fresque, ainsi qu’à Fabrika et à l’Institut français pour leur confiance.

28/01/2026

‘Ici mieux qu’en face’ is currently on view at Grote Kerk Breda for the exhibition ‘René! I am still standing – About love and loss’

The magnificent funerary monument of the family Oranje Nassau is reflected in my hand engraved mirror.

Previously shown at , the piece continues its journey through sites charged with memory.

What will be the next image reflected on its surface?

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Ici mieux qu’en face is momenteel te zien in de Grote Kerk Breda voor de tentoonstelling René! I am still standing – About love and loss.

Als een van de mooiste grafmonumenten van Nederland, biedt het praalgraaf van de familie Oranje Nassau een prachtige spiegelende context voor het werk.

Eerder gepresenteerd in het Petit Palais, blijft het werk zich verhouden tot plekken vol herinnering.

Welke afbeelding zal zich hierna op het oppervlak weerspiegelen?

Credits: Photo n°1 Dennis Oomen Noest creatieve projecten, Photos n°2 & 4 Aad Hoogendoorn, Photo n°3 Petit Palais ©️ Pierre-Antoine

15/01/2026

My work is featured in .revue (n°538), in the article “The Woven Image” by .hatt, which explores contemporary approaches to tapestry among artists working with photography.

Thank you Etienne for this wonderful article !

Since 2009, I have regularly worked with Jacquard loom tapestry, developing images that shift, double, and transform with light - introducing a notion of variability and “defixation” of the image.

“Laurence Aëgerter, who also works with found images, has regularly used Jacquard loom tapestry since 2009. For several years now, her tapestries have featured not one image, but two. This is because, due to the use of phosphorescent threads in certain parts, a second image appears when the light is turned off, changing the meaning of the work. For Longo Maï (2013), a series of four tall tapestries commissioned by the Borély Museum in Marseille, the artist used photographs of people swimming, to which she added lush details of the seabed. In daylight, these joyful and colourful panels bring back memories of our childhood. When night falls, the bodies become mere halos against black backgrounds. They take on a sombre appearance that reflects the concern expressed in the Provençal title: ‘may our happiness endure.’ Aëgerter’s augmented woven photographs introduce a principle of ‘variability’ and ‘defixation’ of the image.”

13/01/2026

Three of my monumental works are currently on view at the Grote Kerk Breda in the exhibition “René, I’m still standing – about love and loss” :

The 38.5-meter-long ‘Epic of the Mind’ unfolds along the choir aisle, ‘Tenture des Éléments: l’Ether’ hangs high above the choir, and the hand-engraved mirror ‘Ici mieux qu’en face’ is installed in one of the chapels.

These large-scale works are rarely shown. ‘Epic of the Mind’ has never before been presented in its entirety and in Breda, almost the whole piece is now visible.

Many thanks to the curators and Fijen !

Also to masterweaver Stef Miero and to the J

On view until March 10 — two months left




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Drie van mijn monumentale werken zijn momenteel te zien in de Grote Kerk Breda in de tentoonstelling “René, I’m still standing – About love and loss” :

Het 38,5 meter lange ‘Epic of the Mind’ ontvouwt zich langs het koorpad, ‘Tenture des Éléments: l’Ether’ hangt hoog boven het koor en de handgegraveerde spiegel ‘Ici mieux qu’en face’ is te zien in een van de kapellen.

Door hun omvang kunnen deze grootschalige werken zelden worden getoond.

‘Epic of the Mind’ is nooit eerder in zijn geheel gepresenteerd; in Breda is nu vrijwel het volledige werk te zien.

Hartelijk dank aan de curators en  !

Ook aan masterweaver Stef Miero en 😊

Te zien tot 10 maart — nog twee maanden

Credits photos Aad Hoogendoorn

03/12/2025

21/11/2025

🗞️ « Wandering through the human mind. Laurence Aëgerter’s work ranges from photographs and objects to tapestries and installations. And recently, for the first time, a work consisting solely of sound. The choice of material follows from the story she wants to tell. »

Thank you so much and for this beautiful interview.

The winter edition of Dutch features a four-page article about Laurence Aëgerter’s work.

“Le Songe d’Ovide” (Ovid’s Dream) was produced with the generous support of MAMAC, the Friends of MAMAC, the Mondriaan Fund, and

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🗞️ « Dwalen door de menselijke Geest.
Het werk van Laurence Aëgerter varieert van foto’s en objecten tot wandkleden en installaties. En onlangs voor het eerst een werk dat alleen uit geluid bestaat. De keuze van materiaal volgt uit het verhaal dat ze wil vertellen. »

Bedankt en voor dit mooie interview.

De wintereditie van het Nederlandse bevat een artikel van vier pagina’s over werk van Laurence Aëgerter.

“Le Songe d’Ovide” (Ovid’s dream) werd genereuse met de waardevolle hulp van het MAMAC, de vrienden van het MAMAC, het Mondriaan Fonds en de Bildhalle.