Claudia Comte Artwork

Claudia Comte
‘Big Bob, his square friend and their diamond totem,’ 2013
Wooden sculptures: Sequoia, beech, oak; acrylic wall painting
Dimensions variable
۶Ƶ Art Collection
© Studio Claudia Comte

Claudia Comte’s idiosyncratic style is defined by a clear, elemental language of forms and a practice shaped by her engagement with the natural world—its rhythms, materials and ecological systems. Her work brings painting and sculpture together to create spatial, three-dimensional environments. Wall paintings form rhythmic, optical fields across surfaces, while hand-carved wooden sculptures introduce a more organic, tactile presence. Drawing inspiration from nature, architecture and popular culture, Comte transforms these references into modernist spaces—geometric, often colorful environments where wall paintings and sculptures enter into dialogue. Her carved forms inhabit these settings like characters, animated by material memory and positioned within landscapes that feel both playful and deliberate.

Comte graduated from ECAL (École cantonale d'art de Lausanne), where John M. Armleder and Philippe Decrauzat played a formative role in shaping an entire generation’s approach to abstraction. While the influence of Neo-Geo and Hard-edge abstraction echoes in aspects of her work, Comte moves beyond these traditions through a sculptural language grounded in physical making and material sensitivity. Working with wood, marble and other natural elements, she extends geometric abstraction into the logic of living systems, where pattern, repetition and symmetry emerge organically.

For Credit Suisse’s Forum Genève, Comte created ‘Big Bob, his square friend, and their diamond totem’ (2013), a site-specific installation that brings together key aspects of her practice. Three hand-carved wooden sculptures, each with its own distinct shape, are set against a wall painting in her signature zigzag motif. Together they suggest a cast of characters in a playful, unfolding narrative. The installation fuses Swiss geometric heritage with organic movement, positioning the sculptures in a way that invites interaction and a sense of story—as if the figures have crossed paths in a landscape shaped for an encounter.

Ed Ruscha

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