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  • Writer's picturePeggy Nichols

Ursina Ramondetto spreads the seeds of love and joy, in her multi-media works...

Updated: Aug 30, 2022

'Gardens of Joy', (ongoing project), dried flowers, seeds, grasses, leaves, lichens and crochet, various fibers, various dimensions.

'Gardens of Joy', (ongoing project), dried flowers, seeds, grasses, leaves, lichens and crochet, various fibers, various dimensions.

Three different pieces.


Rituals of positive contamination

Touched by the sensuality

of the Other who is me

carried by the Flow of Love

I open my Heart

to the Beauty

within and around me

I will dance my Life

in a lush Rose-Garden of Joy

I am not alone

but Feel I must

'Lianes-Liens RésiLIENces', crochet, wool, plants, branches, stems, feathers, various forms & dimensions.

left to right: 'Macrocosmos', polaroid photo, 10 x 10 cm

'Luminance', drawings on paper, 15 x 21 cm.,

'In Mich Gehn' (Going Inwardly), basketry, various plants, 50 x 150 cm.

'My Heart is Full of Wild Tenderness', punch needle, wool, burlap,

50 x 100 cm

'My research and work are intimately connected to my life, my beliefs and my commitment to it.

By creating ritual-like objects and installations and offering collective and sympoïetic workshops, I’m focusing on the resurgence of spaces for interconnections, re-comfort and reliance.

My practice and reflexions are mostly inspired by the work of female thinkers, activists and (eco)philosophers, but also Mystics and spiritual workers.'

"To be in love is to be worldly, to be in connection with significant otherness and signifying other, on many scales, in layers of locals and globals, in ramifying webs."

Donna J. Haraway on Sex Ecologies Ed. by Stefanie Hessler

"How can we continue to walk with humility and remembrance in the landscape of our lives?"

Emmanuel Vaughan Lee in dialogue with Pir Zia Inayat Khan in Nature Meditations: « Landscapes » Hazrat Inayat Khans Ensouled Cosmologie

'And how can we let ourselves be touched by the sensuality of the Other?

How can we open ourselves to Terra and the Universe, to what surrounds us, in order to change our relationship to the Living?

Though what ever we do, how and who ever we are, we are all connected, we are like Lichens in the symbiotic Flow of Life.

These thoughts and questions are essential to my engagement as an artist as well as to my deep commitment as a human and spiritual being.'

'Coeurs Guérisseurs( Healing Hearts )', boiled wool, crochet, embroidery, silk, 15 x 40 cm each.

left to right: 'Gardens of Joy'(ongoing project), crochet, various fibers, dried flowers, seed, grasses, leaves & lichens., various dimensions., informai'Gardens of Joy' (ceramic suite), Obvara ceramics, various dimensions.,

'Gardens of Joy'(ceramic suite), paper kiln ceramics, crochet, various fibers, hair, dried flowers, seeds, grasses, leaves & lichens, various dimensions.

'Soigner Le Lien (Nurturing the Bonds)', a project installation.


A weekend of collective weaving under the sign of sharing and kindness to heal the bond between us as well as us and the living.

A partnership with Dorothée Thébert and Filippo Filliger, Utopiana Garden, Geneva, February 2022.

In residence in Utopiana Garden, Dorothée Thébert & Filippo Filliger invited me to offer a weekend of collective and public workshops. Together we weaved a plant wall with the garden's grass and brambles completing the hut frame built by Filippo and Dorothée.

We also created small objects of care, out of wool, threads, and plants. These talismans were dedicated to the garden and suspended to the hut.

left to right: 'Soigner Le Lien (Nurturing the Bonds)', mixed mediums., 'Soigner Le Lien (Nurturing the Bonds)', mixed mediums.,

'Soigner Le Lien, (Nurturing the Bonds)', mixed mediums.

'Je Suis ICI ( I Am Here ) Vous Etes ICI ( You Are Here )'



A serial in 10 Geneva theatres, which only partially took place in 2020/21 due to pandemic.

A book that will retrace this adventure (to be released in autumn 2022)

'I was invited by REPUBLIQUE EPHEMERE to lead 8 knit-and-think-together workshops, accompanying the serial throughout the season, to create a piece that was to be included in the final episode.

The first two workshops took place in 2022. I assembled the few items that were knitted during those two workshops, into a cape-adornment JE SUIS ICI (I AM HERE) for Arbalète/Camille, child of a community.'

They will appear in the book dedicated to the project.

'Je Suis(I Am)', painting, Aquarelle pigment, various dimensions.

Left to right: 'A L Ombre Des Saules' (In the Willow's Shade), shades, beet root juice, gold pigments on paper, 115 x 150 cm., 'A L Ombre Des Saules' (In the Willow's Shade) beet juice, pigments on paper, 115 x 150 cm., A L'Ombre De Saules'(In the Willow's Shade), beet root juice, ink pigments on paper, 115 x 150 cm.

About 'A L Ombre Des Saules (In the Willow's Shade )

"I put my paper on the garden ground, under my willow dome and painted the willow shadows that were projected on the paper."

Latest Work

'Fields of Love & Joy' exhibition still. 2018-2022.

Thangkas Weaving, applied embroidery Wool, silk, survival blanket, various textiles, sequins, boiled wool, feathery plants, turquoise, lapis, shells, bones, seeds, paint, Double-sided, approx 80 x 300cm

'Filled with infinite sadness, I sowed the soil of my garden,

With tears and seeds of tenderness.

In the sacred humus they were,

Fecundated by the mycelium of resilience.

Nourished by the bonds of solicitude and lulled by the song of the seasons.

They have blossomed in Fields of Love and Joy.'

Left to right: 'Fields of Love & Joy',close up view, (see medium above)., 'Fields of Love & Joy', back of piece, in exhibition,.

'Fields of Love & Joy', close up view.

'Fields of Love & Joy', materials in preparation.

Ursina Ramondetto, in her studio.


'Granddaughter of Swiss-mountains farmers, I was born on the Golden Coast of Lake Zurich in 1969.

As a teenager in the 1980s, I grew up with the Chernobyl cloud and the spectre of a possible nuclear war. My Dad's illness and death during that period, as well as my Mom's spiritual journey, certainly contributed to my sensitivity and solicitude for life. The only way I could bear its impermanence was to give it attention and care, to celebrate it through creation.

In 1990 love and art brought me to the tip of Lake Geneva, where I have lived and worked ever since.

During my studies at HEAD - Geneva's art school- in Silvie Defraoui's studio in the early 90s, I explored video as well as drawing, painting and photography.

After 4 years of study, I needed to distance myself from the contemporary art world. I had the impression that I didn't belong there, that my path had to go through the crossroads, the thickets of life.

And life immediately heard my call - our eldest daughter was on her way. We enjoyed being parents so much that two other girls snuck in close to the gap opened by their sister.

For a few years, I put my art practice on hold and dedicated myself mainly to our three children. Once our daughters were a little older, I started working with people in vulnerable situations.

With a second breath I resumed my artistic practice in 2008. It was then that I realized that knitting was the only creative practice that had never left me in all those years. And I realized the richness of the heritage that my grandmothers had left me. They had passed on to me their know-how of the arts of yarn and textiles. The gestures of knitting, crocheting, weaving, sewing and embroidery had been engraved in my hands since I was a child. So I started to reconnect, thread by thread, with my creative force by integrating little by little these craft techniques into my artistic practice.

At the same time I started to transmit my knowledge and to facilitate workshops of creative expression.

In 2016 I had the chance to get a studiospace at PICTO, association for artistique production. This allowed me to focus on my personal artistic research and to make new connections with other artists. We are almost 90 artists working at Picto, all disciplines included. This fertile ground is for me a fabulous incubator of ideas, thoughts and exchanges, from which sometimes very beautiful collaborations are born.

Thus, for the last two years, a new dimension has been added to my artistic practice, with participative art projects and collective actions.

Alongside my artistic practice, I continue to transmit my know-how and to work regularly with people in vulnerable situations.

I feel I have found a good balance between my personal artistic practice and my love for connection, transmission and exchange.

I feel like a weaver and carer of ties, both in my creative process and in my courses and interventions in various social and cultural contexts.'

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