We caught up with the brilliant and insightful Ursula Oberholzer a few weeks ago and have shared our conversation below.
Alright, so we’re so thrilled to have Ursula with us today – welcome and maybe we can jump right into it with a question about one of your qualities that we most admire. How did you develop your work ethic? Where do you think you get it from?
When I was 21, I began my career in a molecular biology research lab. Young and inexperienced, I was expected to work long hours, often including weekends. Exhausted, I sometimes fell asleep at my desk—until one day, the lab technician warned me that if the “big boss” caught me napping, I’d be in trouble. I soon realized that everyone around me was working hard, likely motivated by both dedication and fear of the boss. Naturally, I fell into a similar routine once I began seeing my first results. A lab mate shared some wisdom: “It’s 90% sweat and negative results, and maybe 10% positive ones.” I realized then, as I do now in my art-making, that the end results are just a small part of the work; it’s the process and perseverance—constantly pushing and trying new approaches—that truly matter. The more consistently one works, the more likely they are to achieve satisfying results. Of course, serendipity, talent, and inspiration play a role, but when those don’t arrive, the steady grind is what brings long-term success.
When I transitioned from science to art, I was struck by the similarities in the creative processes of both fields. While the methods and techniques differ, the underlying skills—asking the right questions, planning a project, designing an experiment in science or selecting the right medium in art, and problem-solving—are remarkably similar in both disciplines.
Appreciate the insights and wisdom. Before we dig deeper and ask you about the skills that matter and more, maybe you can tell our readers about yourself?
To be good or bad. To be proper or outspoken. To shine or to hide. To save or to spend. Feminism with humor—art has given me a voice to express these contrasts. My strength lies in using diverse media and recycled materials, allowing me to explore ambiguities and build confidence in both my creative process and my message. I consider myself a generalist—a dedicated artist with over 15 years of experience. My journey led me to Munich, Germany, where I spent a year painting and exhibiting at the Englschalking Ateliers. For the past decade, I’ve worked in my studio at Complexe Canal Lachine, Montreal, developing a versatile practice spanning painting, drawing, collage, and textiles. During this time, I also earned a Bachelor of Fine Arts from Concordia University in Montreal in 2020.
My work blends figurative and conceptual art, often reflecting contemporary issues such as environmental challenges and social inequalities. I also create more traditional landscapes and portraits, infused with my characteristic whimsy and provocative humor. My inspirations include Vermeer, Manet, and Matisse. Manet’s simplicity and effectiveness and Matisse’s vibrant palette and composition help me find clarity when creatively stuck. Among contemporary influences, Alice Neel’s unapologetic portraits and Alex Katz’s stylized, flattened scenes resonate with me. Recently, medieval imagery—particularly its emphasis on scale differences—has appeared in my latest series, Anthropo-scenes.
In my drawings, paintings, and collages, I begin with a theme or idea. Through layering, addition, and subtraction, new worlds emerge. I avoid excessive detail, focusing instead on composition, playing with blocks of color and lines to create form. I always feel the thrill of watching an image come to life. For example, my 2023 painting ‘Madonna and Child’ began in 2017 as an entirely different concept featuring an “evil” rabbit and a girl in a bubble-gum t-shirt before transforming into the laughing mother and child.
In my conceptual works, I start with a weighted word or symbol. For instance, in ‘Zipper’ (2024) which is published in the feminist ‘Femlu’ magazine, edition of November 2024, I sewed zippers into various fabrics stretched over 9-by-9-inch surfaces. The zipper can open or close, invite or exclude, suggesting themes of interior and exterior, inclusion and exclusion—especially as they relate to the female body.
I have also rediscovered my love of textiles. Over the past three years, I created ‘Ribambelle’, a series of 100 knitted dolls, each 6 to 10 inches tall and uniquely dressed in fabric scraps I’ve collected over the years. This project celebrates diversity and inclusion: each doll is unique, with slight variations in skin textures and tones, yet they share distinctive raspberry mouths and big eyes. I have also begun creating personalized frames for my paintings using recycled fabrics. This framing process not only complements the artwork but sometimes even challenges its meaning as in the ‘Floating blob’ (2024) I am also considering commercializing these unique frames as a product.
I continue to explore new genres and am currently working on a children’s book about dreams and the space between reality and imagination. I am including the ‘Touring with elephants’ (2024) as one of the paintings I made in response to a dream. I hope to publish it by the end of the year.
There is so much advice out there about all the different skills and qualities folks need to develop in order to succeed in today’s highly competitive environment and often it can feel overwhelming. So, if we had to break it down to just the three that matter most, which three skills or qualities would you focus on?
I would describe myself as a generalist, never satisfied with excelling in just one skill or technique. In the lab, I was constantly learning new methods and struggled to focus on a single narrow project with limited tools for addressing questions. In science, you can only afford to be broad if you’re the head of the lab, directing multiple projects, each with its own questions and approaches. The pace is also rapid, often leaving little time to process information due to intense competition.
Transitioning to art has allowed me to embrace my broad interests. Here, my drive to explore varied techniques, learn new skills, and master different media truly pays off. With the freedom to set my own pace, I have time for reflection and exploration. This flexibility lets me choose the most fitting medium and technique for each project.
I am driven by personal ambition and feel most fulfilled when accomplishing a task—especially one that’s hands-on—and completing a project to my satisfaction. I strive to refine and diversify my imagery through exploration and by drawing inspiration from others. A teacher once shared a piece of wisdom with me that deeply resonates: being an artist is a frame of mind that touches every aspect of life and doesn’t require external recognition. This outlook relieves the pressure to create art solely for others’ approval; first and foremost, my work must satisfy my own creative impulses.
I remain passionate about art and the process of creation. Every day at the studio feels rewarding. Unlike a typical job where routine and problems can drain you, art energizes me and inspires me to see and create more. Art-making offers a personal goal where I have full agency; no one but myself dictates my path or schedule.
One of our goals is to help like-minded folks with similar goals connect and so before we go we want to ask if you are looking to partner or collab with others – and if so, what would make the ideal collaborator or partner?
I am open to collaborations with other creative individuals, particularly curators and artists focused on environmental issues. I’m interested in organizing a group exhibition centered around an environmental theme. In 2023, I exhibited Anthropo-scenes, a satirical take on impending environmental catastrophes, and in 2017, I collaborated with Eric Mailloux on Laisse, which critiques car culture and the oil industry. Given the logistical and environmental costs of international travel, a virtual show could be a compelling alternative for global collaboration.
On a different note, I would love to illustrate children’s books and am eager to collaborate with an author who appreciates my visual style. As mentioned, I am planning to publish a children’s book about dreams with animals soon. The illustrations are complete, and I would be delighted to partner with an author to write the accompanying text.
Contact Info:
- Website: https://ursulainmontreal.squarespace.com
- Instagram: @obi_colored
- Facebook: ursula oberholzer
- Linkedin: ursula oberholzer
- Youtube: ursula oberholzer (@ ursula oberholzer 5558)
Image Credits
Colette Campbell Moscrop
Earl M. Corales
so if you or someone you know deserves recognition please let us know here.
