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# Philippe Cramer

Sculptural work balancing the heritage of tradition with the exploration of new models.

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## Pages

- [HOMEPAGE](https://philippecramer.com/) - Philippe utilizes traditional craft skills and contemporary production techniques he explored at the start of his career to bring his personal expressions to life, balancing the heritage of tradition with the exploration of new models.
- [A conversation with Philippe Cramer 2026](https://philippecramer.com/story-2026/a-conversation-with-philippe-cramer-2026/) - A CONVERSATION WITH PHILIPPE CRAMER STATEMENT Philippe Cramer explores the balance between intuitive form and gestural precision. His work stands out thanks to the way organic lines meet geometric volumes in an encounter between references to nature and reminiscences of the aesthetics of Antiquity. By privileging natural materials and an audacious colour palette, he gives
- [STORY](https://philippecramer.com/story-2026/) - PHILIPPE CRAMER Born in the United States and having grown up in Switzerland, Philippe Cramer owes his first name to his ancestor Philibert Cramer, an 18th century figure who was celebrated in the poems of Voltaire and the paintings of Jean-Étienne Liotard. The artistic heritage of his family is rich: his great uncle Gérald Cramer
- [Philippe Cramer x Marjolaine Levy](https://philippecramer.com/story-2026/philippe-cramer-x-marjolaine-levy/) - A CRITICAL ESSAY BY MARJOLAINE LEVY download the PDF file in english télécharger le pdf en français One Chair for Two Through the process of creation, works of art at times chase their makers into the realm of dreams. Philippe Cramer’s art seems to have been born precisely from such a reverie.1 As a child,
- [EN - Conversation with Philippe Cramer - Flipbook](https://philippecramer.com/en-conversation-with-philippe-cramer-flipbook/) - [pdf-embedder url="https://philippecramer.com/wp-content/uploads/2026/03/Philippe-Cramer-par-Marjolaine-Levy-GB-15_02_2026.pdf"]
- [PORTFOLIO](https://philippecramer.com/portfolio/) - BLANK MINIBLANK BLANK WHISPERING STONES IV the guardian of light V celestial body ogle DUAL INHERITANCE 7 DUAL INHERITANCE 8 DUAL INHERITENCE 4 & 5 the guardian of light I Whispering Stone II Whispering Stones V nebuleuse cinetique II Oculus Mirabilis II AETERNUS ETERNUS III Golden Landscapes: Saas Fee Aeternus Eternus II Aternus Eternus: Totemic
- [ARCHIVES](https://philippecramer.com/archives/) - Dolmens furs Tschaggatta Ragaz Galli x Cramer Alea Jacta Est: Eggli 1 STELE STELLAIRE 1 ONYX GOLD ECONE Andrienne Nero Antico Aura portrait SARINE FLOWER II ALGORYTHMIC QUARTZ Alea Jacta Est: Lauenen Tinted woods RANDOGNE 45 PRILLY SILS L’Ornement Jamais: du jour Aura Round FLOWER I VIDE Miroir AARE Clementy SILVAPLANA CELERINA Carats box RHONE
- [PRIVACY POLICY](https://philippecramer.com/privacy-policy/) - Cramer + Cramer Privacy Policy download website privacy policy PDF file Website Privacy Policy (2025.12.17) Cramer+Cramer Sàrl(hereinafter “C+C”) is a Swiss art and design studio with its ordinary place of business in Geneva, Switzerland. Our company registration is CHE-102.140.138. Our registered office rue de la Muse 8, 1205 Geneva, Switzerland. The Privacy Statement applies to
- [ACCESSIBILITY](https://philippecramer.com/accessibility/) - Cramer + Cramer Accessibility We are committed to making www.philippecramer.com as digitally inclusive as possible. Our efforts in that regard are ongoing. Internet users can find websites difficult to use. We strive to making ours accessible to all persons who wish to use it. If you come across a page or feature you find inaccessible
- [WEBSITE TERMS OF USE](https://philippecramer.com/website-terms-of-use/) - Cramer + Cramer Terms Of Use download website terms of use PDF file Website Terms of Use (2025.12.17) I. Scope of Use This Website is operated by Cramer + Cramer Sàrl, a Swiss art and design studio with its ordinary place of business in rue de la Muse 8, 1205 Geneva, Switzerland (hereinafter “C+C”). By
- [Gstaad promenade - Philippe Cramer - Flipbook](https://philippecramer.com/expositiongstaad/gstaad-promenade-philippe-cramer-flipbook/) - price list
- [VISIT](https://philippecramer.com/gallery/) - Cramer + CramerRue de la Muse 81205 Geneva, Switzerland Tuesday to Thursday 10:30 to 18:30Or by appointment +41 22 321 48 12 info @ philippecramer.com NEWSLETTERDon’t miss any event and our latest creations PRESS REQUESTRequest the press kit EXPLORE THE CRAMERVERSE Discover Philippe Cramer’s artist studio and gallery in the Metaverse The Cramerverse is a
- [Art à Verbier Lodh 2025 - Price List Request](https://philippecramer.com/expositionverbierlodh2025/price-list/) - GET THE PRICE LIST ON YOUR EMAIL exhibition catalog
- [Art à Verbier Lodh 2025 - PhilippeCramer - Flipbook](https://philippecramer.com/expositionverbierlodh2025/philippecramer-art-a-verbier-flipbook/) - price list
- [Exposition Gstaad](https://philippecramer.com/expositiongstaad/) - Exposition Gstaad 2025-2026 exhibition catalog price list website instagram contact us
- [Selected Works 2025](https://philippecramer.com/expositionverbier2025/) - Verbier 2025-2026 exhibition catalog price list website instagram email us
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- [GENERAL TERMS & CONDITIONS](https://philippecramer.com/general-terms-and-conditions/) - Cramer + Cramer General Terms and Conditions download B2C General Terms & Conditions PDF file download B2B General Terms & Conditions PDF file B2C General Terms & Conditions (2025.12.06) I. Scope and Applicability These General Terms and Conditions (“Terms”) apply to all sales of goods, commission of works and provision of service agreements between Cramer
- [Selected Works 2025 - Philippe Cramer - Flipbook](https://philippecramer.com/expositionverbier2025/philippecramer-selectedworks-2/) - price list
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- [EVENTS](https://philippecramer.com/events/) - MAZE BASEL 2026 MAZE GSTAAD 2026 ART GENEVE 2026 AETERNUS ETERNUS II AT THE GNAMC IN ROME ART A VERBIER AT BANQUE LOMBARD ODIER DEC 25 - AUG 26 SELECTED WORKS CHALET TZI VERBIER DEC 2025 - FEB 2026 BIENNALE REVELATIONS 2025 AT GRAND PALAIS PARIS GRANDPALAISRMN PRESENTING THE OCULUS MIRABILIS II INFILTRATIONS 2025 IN
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## Events

- [Architectural Digest US Edition](https://philippecramer.com/event/architectural-digest-us-edition/) - Grecian Yearn by Mitchell Owens, photography by Ambroise Tézenas AD us edition, May 2024 Featuring the home of Tino Zervudachi in Athens in which you can find Philippe’s sculpture “The Colossus of Rhodes’s Eyes on a stand”. The eyeballs are made in marble marquetry.
- [ART GENÈVE 2024](https://philippecramer.com/event/art-geneve-2024/) - Philippe Cramer show at ArtGeneve 2024. Spectrum, Onar, Apokalupsis & Apocrypha pieces
- [Prix Louis Jeantet](https://philippecramer.com/event/prix-louis-jeantet/) - Soirée de remise des Prix Louis-Jeantet – Award ceremony Louis-Jeantet Below : Sculpture Prix Louis-Jeantet
- [World of Interiors](https://philippecramer.com/event/world-of-interiors-0523/) - World of Interiors talks of the exhibition “Doppia Firma” at Palazzo Litta in Milan and the work of Philippe Cramer presented during the exhibition.
- [Prestige Immobillier](https://philippecramer.com/event/prestige-immobillier/) - June 2022 by Isabelle Cerboneschi, photography by Nicolas Tosi June 2022 by Isabelle Cerboneschi, photography by Daniela et Tonatiuh
- [Schoner Wohnen](https://philippecramer.com/event/schoner-whonen-0622/) - JUNE 2022 by Barbara Hallman Photographs courtesy of Cramer + Cramer ©DanielaetTonatiuh, Annik Wetter, Marian Gerard
- [Galli Cramer](https://philippecramer.com/event/galli-cramer/) - Maison Galli will be presenting their first signed collection, under the creative direction of Philippe Cramer. The presentation will take place on May 11th, 2023, place du Bourd-de-four 9, Geneva

## Works

- [OURANOS II](https://philippecramer.com/work/ouranos-ii/) - With the Ouranos series, Philippe Cramer explores the relationship between sculpture, movement, and public space through bronze works that function simultaneously as autonomous artworks and conceptual maquettes for future monumental interventions.
- [AETERNUS ETERNUS I](https://philippecramer.com/work/aeternus-eternus2/) - 2022 Moleanos limestone Edition left twist of 5 + 2 AP Edition right twist of 5 + 2 AP 180 x 44 x 58 cm | 70 ⅞ x 17 ⅜ x 22 ⅞ in Download a comprehensive PDF on this artwork With Aeternus Eternus, Philippe Cramer explores the relationship between material, time, and symbolism through a series of stone sculptures conceived for the public realm. Situated between sculpture, architecture, and functional object, these works invite both contemplation and physical engagement while reflecting on one of humanity’s most enduring themes: eternity. The series is defined by a continuous looping form with neither beginning nor end. Its geometry evokes the Möbius strip, the double helix of DNA, and the infinite structures explored by artists such as Max Bill. More than a formal exercise, the loop becomes a metaphor for cyclical existence, perpetual transformation, and the continuity of life beyond human scale. Drawing on ancient cosmologies and archetypal symbols, Aeternus Eternus recalls the Egyptian cycle of the dying and reborn sun as well as the Ouroboros, the serpent devouring its own tail. Rather than presenting time as a linear progression, the sculptures propose a vision of renewal in which endings become beginnings and opposites continuously transform into one another. Carved from stone, the works create a compelling tension between permanence and movement. The material evokes geological time and endurance, while the flowing form suggests change, circulation, and becoming. This dialogue between stability and transformation lies at the heart of the series. Designed to be inhabited as well as observed, the sculptures encourage visitors to sit, converse, and engage directly with the work. In doing so, they transform public space into a site of encounter and reflection. Originally created for the 2022 Open End 2 Sculpture Biennale at Geneva’s Cimetière des Rois, Aeternus Eternus embodies Philippe Cramer’s ongoing exploration of universal forms capable of connecting memory, landscape, and the timeless cycles that shape human existence.
- [AETERNUS ETERNUS III](https://philippecramer.com/work/aeternus-eternus-iii/) - 2025 Branco Estremoz marble Edition left twist of 5 + 2 AP Edition right twist of 5 + 2 AP 180 x 44 x 58 cm | 70 ⅞ x 17 ⅜ x 22 ⅞ in Download a comprehensive PDF on this artwork With Aeternus Eternus, Philippe Cramer explores the relationship between material, time, and symbolism through a series of stone sculptures conceived for the public realm. Situated between sculpture, architecture, and functional object, these works invite both contemplation and physical engagement while reflecting on one of humanity’s most enduring themes: eternity. The series is defined by a continuous looping form with neither beginning nor end. Its geometry evokes the Möbius strip, the double helix of DNA, and the infinite structures explored by artists such as Max Bill. More than a formal exercise, the loop becomes a metaphor for cyclical existence, perpetual transformation, and the continuity of life beyond human scale. Drawing on ancient cosmologies and archetypal symbols, Aeternus Eternus recalls the Egyptian cycle of the dying and reborn sun as well as the Ouroboros, the serpent devouring its own tail. Rather than presenting time as a linear progression, the sculptures propose a vision of renewal in which endings become beginnings and opposites continuously transform into one another. Carved from stone, the works create a compelling tension between permanence and movement. The material evokes geological time and endurance, while the flowing form suggests change, circulation, and becoming. This dialogue between stability and transformation lies at the heart of the series. Designed to be inhabited as well as observed, the sculptures encourage visitors to sit, converse, and engage directly with the work. In doing so, they transform public space into a site of encounter and reflection. Originally created for the 2022 Open End 2 Sculpture Biennale at Geneva’s Cimetière des Rois, Aeternus Eternus embodies Philippe Cramer’s ongoing exploration of universal forms capable of connecting memory, landscape, and the timeless cycles that shape human existence. The piece was first shown at Château Saint-Martin & Spa in Vence for the monographic outdoors exhibition Philippe Cramer au Château Saint-Martin & Spa. Photography 1 @ Jean Michel Sordello Photography 2 @ Antoni Aeby
- [AETERNUS ETERNUS II](https://philippecramer.com/work/aeternus-eternus-branco-estremoz/) - 2025 Black Granite Edition left twist of 5 + 2 AP Edition right twist of 5 + 2 AP 180 x 44 x 58 cm | 70 7/8 x 17 3/8 x 22 7/8 in Download a comprehensive PDF on this artwork With Aeternus Eternus, Philippe Cramer explores the relationship between material, time, and symbolism through a series of stone sculptures conceived for the public realm. Situated between sculpture, architecture, and functional object, these works invite both contemplation and physical engagement while reflecting on one of humanity’s most enduring themes: eternity. The series is defined by a continuous looping form with neither beginning nor end. Its geometry evokes the Möbius strip, the double helix of DNA, and the infinite structures explored by artists such as Max Bill. More than a formal exercise, the loop becomes a metaphor for cyclical existence, perpetual transformation, and the continuity of life beyond human scale. Drawing on ancient cosmologies and archetypal symbols, Aeternus Eternus recalls the Egyptian cycle of the dying and reborn sun as well as the Ouroboros, the serpent devouring its own tail. Rather than presenting time as a linear progression, the sculptures propose a vision of renewal in which endings become beginnings and opposites continuously transform into one another. Carved from stone, the works create a compelling tension between permanence and movement. The material evokes geological time and endurance, while the flowing form suggests change, circulation, and becoming. This dialogue between stability and transformation lies at the heart of the series. Designed to be inhabited as well as observed, the sculptures encourage visitors to sit, converse, and engage directly with the work. In doing so, they transform public space into a site of encounter and reflection. Originally created for the 2022 Open End 2 Sculpture Biennale at Geneva’s Cimetière des Rois, Aeternus Eternus embodies Philippe Cramer’s ongoing exploration of universal forms capable of connecting memory, landscape, and the timeless cycles that shape human existence.
- [DUAL INHERITANCE THEORY N° 1](https://philippecramer.com/work/dual-inheritence-theory-n-1/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 1 2025 Lacquered maritime pine wood 166 x 116 x 4 cm I 65 ⅜ x 45 ⅝ x 1 ⅝​ in Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them. Photography 2 © Annik Wetter
- [DUAL INHERITENCE THEORY N° 2](https://philippecramer.com/work/dual-inheritence-theory-n-2/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 2 2025 Lacquered maritime pine wood 113 x 73.5 x 4 cm I 44 ½ x 28 ⅞ x 1 ⅝​ in Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them.
- [DUAL INHERITANCE THEORY N° 3](https://philippecramer.com/work/dual-inheritance-theory-n-3/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 3 2025 Lacquered maritime pine wood 85 x 62.5 x 4 cm I 33 ½ x 25 ⅝ x 1 ⅝​ in Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them.
- [DUAL INHERITANCE THEORY N° 6](https://philippecramer.com/work/dual-inheritence-theory-n-6/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 6 2026 150 x 100 x 4 cm I 59 × 39 ⅜ × 1 ⅝ in Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them.
- [DUAL INHERITANCE THEORY N° 4 & N° 5](https://philippecramer.com/work/dual-inheritence-theory-n-4/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 4 on the right of the photograph La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 5 on the left of the photograph 2026 Lacquered maritime pine wood 200 x 110 x 4 cm each I 78 ¾ × 43 ¼ × 1 ⅝ Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them. photography 1 © indexsprz photogrpahy 2 @ Antoni Aeby
- [DUAL INHERITANCE THEORY N° 7](https://philippecramer.com/work/dual-inheritance-theory-n-7/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 7 2026 Lacquered maritime pine wood 120 x 80 x 4 cm I 47 ¼ x 31 ½ x 1 ⅝ in Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them. Insitu Photography: © Indexspreyz
- [DUAL INHERITANCE THEORY N° 8](https://philippecramer.com/work/dual-inheritance-theory-n-8/) - La maîtrise de l’aléatoire par la symétrie et autres astuces anxiolytiques : Dual Inheritance Theory N° 8 2026 Lacquered maritime pine wood 120 x 80 x 4 cm I 47 ¼ x 31 ½ x 1 ⅝ in Download a comprehensive PDF on this artwork With the Dual Inheritance Theory series, Philippe Cramer explores the coexistence—and at times the tension—between structures generated by nature and those constructed by human culture. Crafted from lacquered maritime pine, the works bring together two contrasting visual systems: the expressive, unpredictable grain of the wood and rigorous geometric compositions inspired by the language of Op Art and geometric abstraction. The title borrows from an anthropological concept suggesting that human beings inherit simultaneously through biology and culture. In Philippe Cramer’s work, this idea becomes both a visual and material principle. The natural grain of the wood embodies slow organic growth, while the geometric patterns reflect humanity’s desire to impose order, logic, and rational structure onto the world. The dialogue with artists such as Victor Vasarely is particularly significant. Like the pioneers of Op Art, Philippe Cramer employs repetition, geometry, and optical tension to create dynamic surfaces that challenge perception. Yet unlike the controlled and often industrial finishes associated with historical Op Art, his works retain the visible presence of the living material beneath. The knots, veins, and irregularities of maritime pine remain active elements within the composition, resisting complete control. The series thus becomes a meeting point between two forms of drawing: one produced by nature through time, climate, and growth; the other created by human intention through geometry and abstraction. Rather than allowing one system to dominate the other, Philippe Cramer stages their coexistence, transforming the surface into a space of negotiation between order and spontaneity, culture and organicity. By reactivating the visual language of modernism while introducing the expressive presence of natural materials, Dual Inheritance Theory offers a contemporary reflection on ecology, materiality, and humanity’s relationship with the natural world. Each work becomes a meditation on the limits of control and the enduring dialogue between human systems of thought and the living structures that precede them. Photograph 2 © Antoni Aeby
- [MAZE DESIGN BASEL 2026](https://philippecramer.com/work/maze-design-basel-2026/) - MAZE Design Basel 2026 booth featuring Ouranos series, Celestial Bodies series, Alea Jacta Est : Eggli, Aeternus Eternus III, Dual Inheritance Theory series, Wispering Stones and The Guardian of Light. Photography: © Antoni Aeby
- [THE GUARDIAN OF LIGHT II](https://philippecramer.com/work/the-guardian-of-light-ii/) - 2026 Hand Lacquered aluminium and lacquered steel 60 x 17 cm I 23 5/8 x 6 3/4 in. (with light bulb)
- [ONAR N° 6](https://philippecramer.com/work/onar6/) - 2025 Glass, hand enameled mirror, acetate, wood Edition of 3 156 x 89 x 3 cm / 61 3/8 x 35 x 1 1/8 in Download a comprehensive PDF of the artwork With the Onar series, Philippe Cramer explores the unstable boundary between reality and illusion through works that exist between mirror, sculpture, and perceptual object. Named after the Ancient Greek word for “dream,” Onar invites viewers into a space where reflection becomes mirage and reality is subtly transformed. The series originated from a personal experience in the Californian desert, where reflections of sunlight on heated asphalt created fleeting mirages that blurred the distinction between presence and illusion. This moment of perceptual uncertainty became the conceptual foundation of the work. Throughout the series, Philippe Cramer investigates the ways in which vision is filtered, mediated, and continuously reinterpreted. Drawing on a long artistic history of mirrors—from Jan van Eyck and Velázquez to Michelangelo Pistoletto, Anish Kapoor, and Olafur Eliasson—Onar transforms reflection into an active and mutable phenomenon. Using a process derived from industrial laminated glass manufacturing, hand-painted color gradients are embedded within the mirror itself, allowing image, color, transparency, and reflection to coexist. The result is neither painting nor mirror, but a hybrid object that alters the viewer’s perception of reality. The organic silhouettes and luminous chromatic transitions evoke clouds, celestial bodies, eclipses, and atmospheric phenomena. These forms connect the work to humanity’s longstanding fascination with the sky, light, and the sacred dimensions of perception. The series also resonates with the legacy of the Californian Light and Space movement, while maintaining a strong symbolic and material presence. Activated by the viewer’s movement and changing environmental conditions, Onar continuously reconfigures itself. Rather than providing certainty, the works cultivate ambiguity and contemplation. Through these dreamlike mirrors, Philippe Cramer transforms reflection into a vehicle for imagination, proposing a contemporary meditation on perception, illusion, and the shifting nature of reality.
- [ONAR N° 5](https://philippecramer.com/work/onar-n-5-2/) - 2024 Glass, hand enameled mirror, acetate, wood Edition of 3 140 x 105 x 3 cm / 55 1/8 x 41 3/8 x 1 1/8 in Download a comprehensive PDF of the artwork With the Onar series, Philippe Cramer explores the unstable boundary between reality and illusion through works that exist between mirror, sculpture, and perceptual object. Named after the Ancient Greek word for “dream,” Onar invites viewers into a space where reflection becomes mirage and reality is subtly transformed. The series originated from a personal experience in the Californian desert, where reflections of sunlight on heated asphalt created fleeting mirages that blurred the distinction between presence and illusion. This moment of perceptual uncertainty became the conceptual foundation of the work. Throughout the series, Philippe Cramer investigates the ways in which vision is filtered, mediated, and continuously reinterpreted. Drawing on a long artistic history of mirrors—from Jan van Eyck and Velázquez to Michelangelo Pistoletto, Anish Kapoor, and Olafur Eliasson—Onar transforms reflection into an active and mutable phenomenon. Using a process derived from industrial laminated glass manufacturing, hand-painted color gradients are embedded within the mirror itself, allowing image, color, transparency, and reflection to coexist. The result is neither painting nor mirror, but a hybrid object that alters the viewer’s perception of reality. The organic silhouettes and luminous chromatic transitions evoke clouds, celestial bodies, eclipses, and atmospheric phenomena. These forms connect the work to humanity’s longstanding fascination with the sky, light, and the sacred dimensions of perception. The series also resonates with the legacy of the Californian Light and Space movement, while maintaining a strong symbolic and material presence. Activated by the viewer’s movement and changing environmental conditions, Onar continuously reconfigures itself. Rather than providing certainty, the works cultivate ambiguity and contemplation. Through these dreamlike mirrors, Philippe Cramer transforms reflection into a vehicle for imagination, proposing a contemporary meditation on perception, illusion, and the shifting nature of reality.
- [WHISPERING STONES III](https://philippecramer.com/work/whispering-stones-iii/) - A scupture of lacquered marble fragments and steel. This unique work of art is part of a new series by Philippe Cramer.2026 Paint on marble, lacquered steel 47 x 20 x 55 cm / 18 1/8 x 7 7/8 x 21 5/8 in Download a comprehensive PDF on this artwork With the Whispering Stones series, Philippe Cramer explores the ability of matter to contain images before any human intervention. Created from natural stones whose veins, inclusions, and geological formations evoke landscapes, horizons, and atmospheric phenomena, the works extend a long artistic tradition of “figured” or “landscape” stones, prized since Antiquity and the Renaissance for their capacity to suggest worlds already embedded within the material. Historically, artists such as Giuseppe Cesari, Jacques Stella, Johann König, and Jacopo Ligozzi painted on marble, alabaster, or lapis lazuli, allowing the natural patterns of the stone to participate in the image. These works occupied a singular place in the Renaissance paragone, blurring the boundaries between painting and sculpture, image and object, representation and matter. Philippe Cramer begins from a similar act of recognition: cliffs, clouds, mountains, and horizons appear to emerge from mineral movements formed over geological time. Yet Whispering Stones moves beyond revelation alone. Upon these pre-existing mineral landscapes, the artist introduces elementary geometric forms and colors foreign to the natural palette of the stone. Circles, lines, discs, and archetypal signs become a second language, bringing human temporality, emotion, and symbolic thought into dialogue with geological memory. The works thus stage an encounter between two forms of creation: nature’s slow, silent, non-intentional formation of matter, and humanity’s impulse to organize the world through signs, color, and abstraction. Suspended between landscape and symbol, figuration and projection, Whispering Stones becomes a meditation on perception, deep time, and the coexistence of nature and culture. Each stone seems to whisper rather than declare, offering a space where geological memory and human imagination converse across millennia. Photography 2 @ Antoni Aeby
- [WHISPERING STONES IV](https://philippecramer.com/work/whispering-stones-iv/) - 2026 Paint on marble, lacquered steel 64 x 30 x 71 cm / 25 ¼ x 11 ¾ x 28 in Download a comprehensive PDF on this artwork With the Whispering Stones series, Philippe Cramer explores the ability of matter to contain images before any human intervention. Created from natural stones whose veins, inclusions, and geological formations evoke landscapes, horizons, and atmospheric phenomena, the works extend a long artistic tradition of “figured” or “landscape” stones, prized since Antiquity and the Renaissance for their capacity to suggest worlds already embedded within the material. Historically, artists such as Giuseppe Cesari, Jacques Stella, Johann König, and Jacopo Ligozzi painted on marble, alabaster, or lapis lazuli, allowing the natural patterns of the stone to participate in the image. These works occupied a singular place in the Renaissance paragone, blurring the boundaries between painting and sculpture, image and object, representation and matter. Philippe Cramer begins from a similar act of recognition: cliffs, clouds, mountains, and horizons appear to emerge from mineral movements formed over geological time. Yet Whispering Stones moves beyond revelation alone. Upon these pre-existing mineral landscapes, the artist introduces elementary geometric forms and colors foreign to the natural palette of the stone. Circles, lines, discs, and archetypal signs become a second language, bringing human temporality, emotion, and symbolic thought into dialogue with geological memory. The works thus stage an encounter between two forms of creation: nature’s slow, silent, non-intentional formation of matter, and humanity’s impulse to organize the world through signs, color, and abstraction. Suspended between landscape and symbol, figuration and projection, Whispering Stones becomes a meditation on perception, deep time, and the coexistence of nature and culture. Each stone seems to whisper rather than declare, offering a space where geological memory and human imagination converse across millennia.
- [CELESTIAL BODY: WOLF 1069](https://philippecramer.com/work/celestial-body-wolf-1069/) - 2025 Bronze, oak 57 x 40 x 172 cm Download a comprehensive PDF on this artwork With the Celestial Bodies series, Philippe Cramer explores the intersection of sculpture, symbolism, and material transformation. Composed of cast bronze and raw oak, these totemic works evoke archaic idols, megalithic monuments, and celestial forms, while engaging in dialogue with the language of modern sculpture. Their silent verticality recalls both ritual objects and the essential forms pursued by artists such as Constantin Brancusi, whose work sought to reveal the metaphysical essence of things through radical formal reduction. Situated between abstraction and spirituality, Celestial Bodies inhabits an indeterminate temporality—simultaneously ancient and contemporary, terrestrial and cosmic. The title evokes both astronomical bodies and the sculptural object as a self-contained presence. Each work appears as a contemplative axis connecting earth and sky, matter and myth. Material plays a central role in the series. Bronze, historically associated with permanence, memory, and monumentality, is paired with raw oak, whose organic texture introduces a living and terrestrial dimension. In Philippe Cramer’s practice, bronze itself becomes a field of experimentation. Rather than relying on standardized industrial alloys, each composition is developed by hand in the studio from varying proportions of copper, brass, and tin. As a result, every sculpture acquires its own chromatic identity, ranging from warm reddish tones to golden or silvery hues. This process evokes the traditions of alchemy, where the transformation of metals carried both material and symbolic significance. Fire, fusion, and alloying become acts of transmutation through which disparate elements merge into a new unified presence. Entirely handcrafted in Switzerland in collaboration with master artisans, Celestial Bodies reflects Philippe Cramer’s ongoing commitment to materiality, craftsmanship, and contemplative forms capable of carrying both historical memory and contemporary meaning.
- [OCULUS MIRABILIS II](https://philippecramer.com/work/oculus-mirabilis-ii/) - 2025 Hand patinated plaster, LEDs, metal 20 + 4 AP + one prototype 65 cm x 5,5 cm Download a comprehensive PDF on this artwork With Oculus Mirabilis, Philippe Cramer explores the relationship between light, time, and perception through a sculpture whose appearance continuously evolves over a twenty-four-hour cycle. Conceived around the circadian rhythm, the work unfolds as a slow chromatic choreography in which color, intensity, and atmosphere gradually transform throughout the day. Rather than merely occupying space, the sculpture inhabits duration, making time itself a material component of the work. Its circular form draws upon one of humanity’s oldest symbolic archetypes. Across cultures, the circle has represented eternity, cosmic order, and cyclical existence. Inspired by Ancient Egyptian beliefs surrounding the daily death and rebirth of the sun, Oculus Mirabilis evokes the symbolism of the Ouroboros and the notion of perpetual renewal. Each chromatic cycle eventually returns to its point of origin, transforming repetition into regeneration. The work situates Philippe Cramer within a lineage of artists who have employed light as a primary material, from Dan Flavin and James Turrell to Olafur Eliasson. It also resonates with the Californian Light and Spacemovement, whose artists explored perception through light, color, and atmosphere. Yet unlike many of these precedents, Oculus Mirabilis retains a strong sculptural presence. Light does not replace matter; it animates it. Handmade in fine plaster and produced in collaboration with the master artisans of the GrandPalaisRmn Plaster Cast Workshop in Paris, the work bridges traditional craftsmanship and contemporary technology. Rather than representing time, Oculus Mirabilis performs it. Its continuously evolving chromatic cycle transforms temporality into a lived experience, inviting viewers to slow their gaze and become aware of the rhythms that govern both nature and human existence. Positioned between sculpture, ritual object, and luminous phenomenon, the work proposes a contemporary meditation on renewal, perception, and the cyclical nature of life. This new variation of Oculus Mirabilis I, (2021) is co-edited by Philippe Cramer and La Maison using the expertise of the best craftswomen and craftsmen of the Plaster Cast Workshop of the GrandPalaisRmn, a historic workshop originating from the ateliers du Louvre in Paris. This new artwork was first presented at the Grand Palais in Paris during the biennale Révélations by GrandPalaisRmnAteliers. Photography © Fanch Le Boch
- [OCULUS MIRABILIS I](https://philippecramer.com/work/oculus-mirabilis/) - 2021 Hand patinated plaster, LEDs, metal 15 + 4 AP + one prototype 104 cm x 5,5 cm Download a comprehensive PDF on this artwork With Oculus Mirabilis, Philippe Cramer explores the relationship between light, time, and perception through a sculpture whose appearance continuously evolves over a twenty-four-hour cycle. Conceived around the circadian rhythm, the work unfolds as a slow chromatic choreography in which color, intensity, and atmosphere gradually transform throughout the day. Rather than merely occupying space, the sculpture inhabits duration, making time itself a material component of the work. Its circular form draws upon one of humanity’s oldest symbolic archetypes. Across cultures, the circle has represented eternity, cosmic order, and cyclical existence. Inspired by Ancient Egyptian beliefs surrounding the daily death and rebirth of the sun, Oculus Mirabilis evokes the symbolism of the Ouroboros and the notion of perpetual renewal. Each chromatic cycle eventually returns to its point of origin, transforming repetition into regeneration. The work situates Philippe Cramer within a lineage of artists who have employed light as a primary material, from Dan Flavin and James Turrell to Olafur Eliasson. It also resonates with the Californian Light and Spacemovement, whose artists explored perception through light, color, and atmosphere. Yet unlike many of these precedents, Oculus Mirabilis retains a strong sculptural presence. Light does not replace matter; it animates it. Handmade in fine plaster, the work bridges traditional craftsmanship and contemporary technology. Rather than representing time, Oculus Mirabilis performs it. Its continuously evolving chromatic cycle transforms temporality into a lived experience, inviting viewers to slow their gaze and become aware of the rhythms that govern both nature and human existence. Positioned between sculpture, ritual object, and luminous phenomenon, the work proposes a contemporary meditation on renewal, perception, and the cyclical nature of life. This artwork is co-edited with La Maison. Photography © Daniela & Tonatiuh
- [MAZE ART GSTAAD 2026](https://philippecramer.com/work/maze-art-gstaad-2026/) - Maze Art Gstaad 2026 booth featuring Celestial Bodies series, Aeternus Eternus III, Dual inheritance Theory series, Wispering Stones and The Guardian of Light. Photography: © Antoni Aeby
- [OURANOS](https://philippecramer.com/work/ouranos/) - 2023 Irish limestone Edition of 5 + 2 AP 407 x 88 x 146 cm Download comprehensive PDF on this artwork With the Ouranos series, Philippe Cramer explores the relationship between sculpture, movement, and public space through bronze works that function simultaneously as autonomous artworks and conceptual maquettes for future monumental interventions. Named after the primordial Greek deity of the sky, Ouranos evokes a cosmological dimension in which sculpture becomes a symbolic axis connecting architecture, landscape, and collective experience. Despite their modest scale, the works possess a strong monumental presence. Their flowing curves and looping trajectories unfold like three-dimensional drawings suspended in space, generating a sense of movement, balance, and continuity. Circles, orbital paths, and calligraphic lines create forms that appear both dynamic and timeless, recalling astronomical diagrams, ancient symbols, and imagined architectural structures. This dialogue between line and monumentality situates the series within a lineage that includes artists such as Constantin Brancusi, Isamu Noguchi, Alexander Calder, and Max Bill, all of whom sought to expand sculpture beyond the object toward architecture, landscape, and spatial experience. Rather than relying on mass alone, Philippe Cramer develops an architecture of line in which structure and movement become inseparable. Cast in bronze and finished with hand-applied patinas, each sculpture combines the permanence traditionally associated with the material with a remarkable sense of lightness and fluidity. Their forms suggest both natural phenomena—waves, celestial trajectories, topographical contours—and speculative public environments yet to be realized. Balancing abstraction, monumentality, and contemplation, Ouranos proposes a sculptural language in which bronze, geometry, and movement converge. These works exist simultaneously as complete sculptures and as visions of future architectural interventions, offering a poetic reflection on space, memory, and humanity’s enduring desire to create symbolic landmarks within the landscape. Presented at the Biennale de Crans-Montana in June 2023.
- [ALEA JACTA EST : OBERORT](https://philippecramer.com/work/alea-iacta-est-oberort/) - Alea Iacta Est is a series of unique pieces developed by Philippe. Based on Heritage pieces found in family homes and specialised antique stores, he respectfully enhances them with crystals. This particular cupboard is typically Bernese with the painting of the bear, symbol of the region. Philippe gracefully punctuates it with different size crystals to revalorize this beautiful traditional piece.
- [ALEA JACTA EST : WASSENGRAT](https://philippecramer.com/work/alea-jacta-est-wassengrat/) - Alea Jacta Est is a series of unique works developed by Philippe. Based on Heritage pieces found in family homes and specialised antique stores, he respectfully enhances them with crystals. This particular low table is a perfect example of Swiss Craft. Philippe gracefully punctuates it with different size crystals to revalorize this naturally beautiful piece.
- [LE DEMIURGE N 1](https://philippecramer.com/work/le-demiurga-n1/) - Hand painted Swiss XVIII century cupboard.
- [NESTOR](https://philippecramer.com/work/nestor/) - Nestor stool Walnut or oak with a cotton upholstery designed by Philippe Cramer for Galli Décorations The new Galli ❤️ Cramer collection can be found on: https://gallideco.ch/fr/
- [ALEA JACTA EST ANDROMEDAE](https://philippecramer.com/work/alea-iacta-est-andromedae/) - 2022 Charred wood and inlayed crystals.
- [OBJET STELLAIRE SATURNIAN](https://philippecramer.com/work/objet-stellaire-saturnian/) - Lacquered steel.
- [CORNUCOPIA HELVETICAE](https://philippecramer.com/work/cornucopia-helveticae-3/) - Swiss coins, aluminium.
- [GENERATIVE FIGURES N1](https://philippecramer.com/work/generative-figures-n1/) - Printed silk.
- [BOITE TABLEAU](https://philippecramer.com/work/boite-tableau/) - Painted oak.
- [APUKALUPSIS](https://philippecramer.com/work/apukalupsis/) - 2024 Gilded and lacquered aluminium and steel. Last photograph: sculpture in the garden of Chateau Saint-Martin & Spa in Vence, during the "Philippe Cramer at Chateau Saint-Martin" monographic outdoor exhibition in 2025. Photo © Jean-Michel Sordello 2025
- [SPECTRUM N° 1](https://philippecramer.com/work/spectrum-n1/) - Sculpture, 2024
- [ONAR N° 3](https://philippecramer.com/work/onar-n3/) - Glass, mirror, wood board and acetate film.
- [ONAR N° 2](https://philippecramer.com/work/onar-n2/) - Glass, mirror, wood board and acetate film.
- [ONAR N° 1](https://philippecramer.com/work/onar-n1/) - Glass, mirror, wood board and acetate film.
- [APOTROPAIC AMULET PHYGITAL SCULPTURES](https://philippecramer.com/work/apotropaic-amulet-sculpture-series/) - Apotropaic Amulets, 2022 Phygital sculptures The “Apotropaic Amulets” are Philippe Cramer’s first phygital artworks, blending digital and physical work into one. The digital elements are created as a series of 6 artworks in GIF format, each minted on the Polygon network in an edition 28 and numbered. These NFTs are a first step towards the Philippe Cramer metaverse experiences that he aspires to create. The physical elements are tangible sculptures made of lacquered metal and wood and incorporate a screen to host the GIFs. The “Apotropaic Amulets” have for symbolic purpose to avert the Evil Eye and bring goodness to its owner. “Have these beneficial presences guard over you by keeping them on your computer, your phone, placing them on a wall of your house in the metaverse or simply placing the sculpture in your home.” Philippe says. «Grrrr» Edition of 28, numbered individually. “Grrrr” will fight for you and for your right to show your worth and inner beauty. Property: Evil-eye repellent / Quality: Luminous / Also Known As: The Star / Color: Yellow / Character: Joy & Vigor «Krrrrr» Edition of 28, numbered individually. “Krrrrr” will defend you against all creepy entities, all angles ready for battle. Property: Evil-eye repellent / Quality: Strong / Also Known As: The Rock / Color: Red / Character: Leadership & Force «Bloouu» Edition of 28, numbered individually. “Bloouu” will be by your side at all times, a liquid friend to regenerate you, no matter what. Property: Evil-eye repellent / Quality: Liquid / Also Known As: The Puddle / Color: Blue / Character: Confidence & Loyalty «Mmmm» Edition of 28, numbered individually. “Mmmm” will be a guide for the perfect path to Nirvana, spreading love to whomever approaches. Property: Evil-eye repellent / Quality: Rebirthed / Also Known As: The Egg / Color: Purple / Character: Insight & Wisdom «Goooo» Edition of 28, numbered individually. “Goooo” will watch over you in a gentle way, its’ soft tentacles encircling you for protection. Property: Evil-eye repellent / Quality: Knowledgeable / Also Known As: The Octopus / Color: Violet / Character: Imagination & Luxury «Muaaaa» Edition of 28, numbered individually. “Muaaaa” will softly energize your inner strength to reach spiritual greatness. Property: Evil-eye repellent / Quality: Determined / Also Known As: The Cross / Color: Orange / Character: Success & Warmth GENESIS OF THE APOTROPAIC AMULETS The "Apotropaic Amulet" body of work was first developed in 2020 as large-scale wall sculptures for the critically acclaimed ephemeral installation "Night Fall", a project initiated by Thomas Hug, former director of ArtGenève art fair and current director of the Maze Art Gstaad fair. In 2021, Philippe created variations of these artworks made in hand-hammered 18 carat gold. These sculptures can be exhibited on a wall in their bespoke frames or worn as brooches. Philippe then set his focus on transforming these physical pieces into digital artworks, secured as NFT’s, to mirror his “real world” tangible art into the digital sphere. They were unveiled during ArtGenève 2022. NOTE As we are in an ever-evolving world, don’t forget to check changes in the General Terms & Conditions on our website. We promise to do our best effort to reflect and adapt to expanding and maturing technologies, the legal framework as well as Philippe’s artistic vision. The definition and properties of the amulettes are part of the artistic vision of the Artist, a fiction rather than a promise of performance or result.
- [CAPTROMANCIE GOLD N°3](https://philippecramer.com/work/captromancie-gold-n3/) - This work, which is slightly detached from the wall, evokes outsize jewels playing with reflections, sheen, movement and weightlessness; they are comparable to earrings whose scale the artist chooses to modify here to give them an imposing stature. This series, entitled Captromancie, refers to the presumed divinatory power of reflective surfaces – a belief that has been present throughout the history of mythologies. A glass or polished-metal or an expanse of water were used then as an instrument for glimpsing into the future. Traces of this mystical art can be found in many ancient civilizations, including in Mesopotamia, Greece or some regions of sub-Saharan Africa. Philippe Cramer thinks of each work in the series as a broad piece of wall jewellery made up of a set of flat pieces cut out in soft and sensual shapes linked by metal hooks. Their precious appearance is created by using brass and gold leaf.
- [LE SOLEIL PETRIFIE N° 3](https://philippecramer.com/work/le-soleil-petrifie-n3/) - Sculpture, 2023
- [LE SOLEIL PETRIFIE N° 2](https://philippecramer.com/work/le-soleil-petrifie-n2/) - Sculpture, 2023
- [LE SOLEIL PETRIFIE N° 1](https://philippecramer.com/work/le-soleil-petrifie-n1/) - Sculpture, 2023
- [RANDOGNE](https://philippecramer.com/work/randogne/) - Functional light sculpture, 2004-2023 Representing one of the many facets of Philippe Cramer’s creative approach, the Randogne series is the result of the combination of two seemingly opposite elements: the ancestral archetype of the anthropomorphic idol and contemporary laser cutting technique. The work of Philippe Cramer makes multiple references to the Ancient World, appearing as much in his affection for traditional craftsmanship as in his fascination for millennial symbols. However, this series also takes shape thanks to a contemporary industrial process: computer-assisted laser cutting allows the different elements of each model to be perfectly calibrated. The narrative and sculptural aspects of these sculptures feed the imagination as they resemble benevolent Cyclops illuminating the viewer with their central eye, both solemn and joyful. Due to the use of mirrored light bulbs, the indirect lighting of the lamps also creates a radiant eclipse effect around the perimeter of the central disc, emphasizing the allegorical dimension of the work. The collection is part of the OFC collection MUDAC (Office Federal de la Culture, Bundesamt für Kultur)
- [THE PHANTASMA SERIES : ONAR](https://philippecramer.com/work/the-phantasma-series-onar/) - Sculpture, 2022
- [ALEA JACTA EST : VIRGINIS](https://philippecramer.com/work/alea-iacta-est-virginis/) - Hand carved XVIII century wood inlayed with crystals., 2023 Alea Jacta Est is a series of unique works developed by Philippe. Based on Heritage pieces found in family homes and specialised antique stores, he respectfully enhances them with crystals.
- [ALEA JACTA EST : GRUBEN](https://philippecramer.com/work/alea-iacta-est-gruben/) - Functional sculpture, 2023 Alea Jacta Est is a series of unique works developed by Philippe. Based on Heritage pieces found in family homes and specialised antique stores, he respectfully enhances them with crystals.
- [DOLMENS FUR TSCHAGGATTA](https://philippecramer.com/work/dolmens-fur-tschaggatta/) - Functional sculpture, 2022 Set of 6, each element signed, dated and numbered. Dimensions: Red dolmen : 28 x 8 x h 15,5 cm, yellow dolmen: 25 x 6 x h 8,2 cm, turquoise dolmen: 16 x 8 x h 17,2 cm, forest green dolmen: 24,7 x 8 x h. 14,2 cm, pink dolmen: 20,5 x 8,5 x h 23,2 cm, blue dolmen: 22 x 11 x h 23 cm. Limited edition of 250 sets + 2 AP. Philippe has delved into his heritage to honor both Christmas and Swiss pagan beliefs for his latest creation « Dolmens für Tschäggättä », a set of six functional sculptures, proposed in a limited edition of 250, each signed, dated and numbered by the artist. True to his minimalistic yet visually striking approach, Philippe Cramer marries colour and geometry to convey joy, light and modernity. Each dolmen works as a functional self-standing candlestick. But when they are assembled to become one, the sculpture takes on a life of its own, evoking a poetic skyline, a shining city, with the flickering light of the candles symbolizing a beacon of hope. The elements in the functional sculpture, as he describes it, are made of rigid steel and are powder-coated with luminous colors by the local craftsmen he has worked with for the last 20 years. A little Swiss pagan history: Tschäggättä is a mythical and monstruous character that exists during Carnival in the streets of the remote Lötschental part of Switzerland. The word can be loosely translated as “Amazing Being”. The origin of this tradition is hard to pin down – some say it goes back to the 16th century and served to manifest against the political climate set by the local magistrates or stand for the return of the dead amongst the living. Covered in sheep furs, terrifying wood carved masks and bells around their necks, the Tschäggättäs pour ashes on the heads of their victims and sometimes steal food from homes. Philippe’s love of the Swiss folklore has been part of his work for some time. He is proud to work with local craftsmen who continue to use traditional techniques to manufacture his art.
- [JEANTET AWARD](https://philippecramer.com/work/jeantet-award/) - Award, 2022 This award was created by Philippe Cramer for the Foundation Louis-Jeantet. Established in 1986, the Louis-Jeantet Prizes are awarded each year to experienced researchers who have distinguished themselves in the field of biomedical research in one of the member states of the Council of Europe.
- [CAPTROMANCIE CORAL](https://philippecramer.com/work/captromancie-coral/) - Wall mobiles, 2022 This work, which is slightly detached from the wall, evokes outsize jewels playing with reflections, sheen, movement and weightlessness; they are comparable to earrings whose scale the artist chooses to modify here to give them an imposing stature. This series, entitled Captromancie, refers to the presumed divinatory power of reflective surfaces – a belief that has been present throughout the history of mythologies. A glass or polished-metal or an expanse of water were used then as an instrument for glimpsing into the future. Traces of this mystical art can be found in many ancient civilizations, including in Mesopotamia, Greece or some regions of sub-Saharan Africa. Philippe Cramer thinks of each work in the series as a broad piece of wall jewellery made up of a set of flat pieces cut out in soft and sensual shapes linked by metal hooks. Their precious appearance is created by using brass and gold leaf.
- [OBJET STELLAIRE: MERCURIAN](https://philippecramer.com/work/objet-stellaire-mercurian/) - Sculpture, 2022
- [AURA WALL MOBILE PORTRAIT](https://philippecramer.com/work/aura-wall-mobile-portrait/) - Sculpture, 2021-2024
- [HARMONIA MACROCOSMICA](https://philippecramer.com/work/harmonia-macrocosmica/) - Sculpture, 2022
- [PALIMPSEST 1](https://philippecramer.com/work/palimpsest-1/) - Functional Sculpture, 2022
- [THE LOST THRONE OF MOUNT OLYMPUS onyx](https://philippecramer.com/work/the-lost-throne-ofmount-olympus-onyx/) - 2021
- [THE COLOSSUS OF RHODES' EYES: GREEN](https://philippecramer.com/work/colossus-of-rhodes-eyes/) - Sculpture, 2021
- [ICARE](https://philippecramer.com/work/icare/) - Coffee table, 2021
- [APOTROPAIC AMULETS](https://philippecramer.com/work/apotropaic-amulets/) - Amulets brooches, 2021
- [EPAPHO’S WIFE](https://philippecramer.com/work/epaphos-wife/) - Bench, 2021
- [FLOWER II](https://philippecramer.com/work/flower-ii/) - Ring, 2009 Hand carved amethyst in the shape of a flower.
- [LA VICTOIRE DE SAMOTHRACE FONDUE](https://philippecramer.com/work/la-victoire-de-samothrace-fondue/) - Dining table, 2021
- [OPHELIA’S POND](https://philippecramer.com/work/ophelias-pond/) - Dining table, 2021
- [ECÔNE marble Nero Antico](https://philippecramer.com/work/econe-marble-nero-antico/) - Coffee table, 2021
- [ELECTA](https://philippecramer.com/work/electa/) - Wall console, 2021
- [THE LOST THRONE OF MOUNT OLYMPUS gold](https://philippecramer.com/work/the-lost-throne-of-olympus-gold/) - Functional Sculpture, 2021
- [FOLIA](https://philippecramer.com/work/folia/) - Sculpture, 2020
- [MICHAELA](https://philippecramer.com/work/michaela/) - Dining table, 2020
- [REFLECTIONS IN A GOLDEN EYE](https://philippecramer.com/work/reflections-in-a-golden-eye/) - Dining table, 2020
- [ECÔNE marble Statuario](https://philippecramer.com/work/econe-marble-statuario/) - Coffee table, 2020
- [DUO](https://philippecramer.com/work/duo/) - Hermès Petit h Bracelet, 2020 Photos Eugenia Sierko-Rouchon @hermes 2020
- [SOPHIE](https://philippecramer.com/work/sophie/) - Dining table, 2020
- [CLEMENTY](https://philippecramer.com/work/clementy/) - Dining table, 2020
- [PAYSAGE SPECULAIRE](https://philippecramer.com/work/paysage-speculaire/) - Work on wood, 2014 By creating works halfway between the painting, the sculpture, the piece of furniture, and the object of applied art, he positions himself at the crossroads of a postmodern challenge of the disciplines. Philippe Cramer has thus developed a singular practice that spans artistic ranges : from tapestry to jewelry, through ceramics and paintings, he multiplies the referents and sets a precedent for future generations.
- [DRAWINGS IN SPACE N°1](https://philippecramer.com/work/drawings-in-space-n1/) - Occasional table, 2020
- [APOTROPAIC AMULETS](https://philippecramer.com/work/apotropaic-amulets-2/) - Amulets, 2020 Created especially for ArtGenève 2020 by Swiss artist and designer Philippe Cramer, the Apotropaic amulets are an extension of his creative practice. Philippe Cramer regularly refers to artistic expressions and artifacts from ancestral societies, which today can often be found in museum display cases. Partly from the Captromancie series, the works presented here are made of crumpled steel and gilded with fine gold. They take on anthropomorphic appearances, evoking masks of rituals from past civilizations, hammered from flat sheets of gold. To the artist, they are objects of transmission, recalling our past and acting like a talisman to facilitate our entry into the contemporary, dematerialized world. He therefore invites the viewer to reintegrate the founding elements that built our civilization to help shape its future. Philippe Cramer began his artistic career with the medium of design, focusing on furniture and home accessories in particular. His attachment to the material as well as to the techniques of both industrial manufacturing and craftsmanship can be traced to his first professional experience. Yet a spirit of dissolving the boundaries between creative genres forms an integral part of his artistic development and firmly places him in a new generation that seeks to erase the lines between categories; like the profound changes that are currently taking place among the types of identity, race, and sexuality. Philippe Cramer does not hesitate to experiment with different techniques and styles of visual expression while combining certain motifs and recurrent themes in his creativity. One might even suggest that, like a composer, he is creating Variations on a Theme. Evoking the transformation of his creative world, Philippe recently professed in an interview : “My consciousness is in perpetual evolution.” It’s easy to make the analogy : in the study of his new work, the recipient of his artistic message is invited to absorb this metamorphosis and to perceive new possibilities as much of artistic expression as of a way of life. By creating works halfway between the painting, the sculpture, the piece of furniture, and the object of applied art, he positions himself at the crossroads of a postmodern challenge of the disciplines. Philippe Cramer has thus developed a singular practice that spans artistic ranges : from tapestry to jewelry, through ceramics and paintings, he multiplies the referents and sets a precedent for future generations.
- [THE LOST THRONE OF MOUNT OLYMPUS lacquer](https://philippecramer.com/work/the-lost-throne-of-mount-olympus-lacquer/) - Seat, 2020
- [CAPTROMANCIE gold](https://philippecramer.com/work/captromancie-gold/) - Wall mobiles, 2020 This work, which is slightly detached from the wall, evokes outsize jewels playing with reflections, sheen, movement and weightlessness; they are comparable to earrings whose scale the artist chooses to modify here to give them an imposing stature. This series, entitled Captromancie, refers to the presumed divinatory power of reflective surfaces – a belief that has been present throughout the history of mythologies. A glass or polished-metal mirror or an expanse of water were used then as an instrument for glimpsing into the future. Traces of this mystical art can be found in many ancient civilizations, including in Mesopotamia, Greece or some regions of sub-Saharan Africa. Philippe Cramer thinks of each work in the series as a broad piece of wall jewellery made up of a set of flat pieces cut out in soft and sensual shapes linked by metal hooks. Their precious appearance is created by using brass and mirror-polished stainless-steel plates. When assembled, these elements are reminiscent of archetypes of universal symbols, like pre-language pictograms. Being highly symbolic, the mirror has fascinated human beings ever since it was invented. It reflects the image of oneself and so reveals the certainty of existence but also helps to generate the optical illusions of idealization. It thus allows many levels of interpretation, or even allows one to switch to a second reality. Many artists, from Lewis Caroll to Pistoletto, have used the metaphor of the mirror to describe facets of their universe that is difficult to access with more prosaic methods of artistic expression. The mirror also enables the artist to involve the observer as a participant in the work of art and thus to render it alive and intimate. Each piece in the series is made in an edition of 5 pieces and 2 artist’s proofs, which are numbered, dated and signed by the artist.
- [ANDRIENNE MARBLE](https://philippecramer.com/work/andrienne-marble/) - Console table, 2020
- [AURA ROUND](https://philippecramer.com/work/aura-round/) - Pendant, 2014-2024 Profiles of loved ones surrounded by aura emanations in diamond, sapphire or emeralds.
- [THUNDERSTORM OR ZEUS’S WRATH](https://philippecramer.com/work/thunderstorm-or-zeus-wrath/) - Sculptures, 2019 Here, two pieces show the Swiss artist and designer Philippe Cramer’s interest in natural phenomena charged with symbolism. The unique works Thunderstorm or Zeus’s wrath 1 and 2 are part of a series made from Greek marble and illustrate the evocative power of nature and its hold on civilizational and cultural beliefs. Each piece is carved on a lathe from a block of Thassos marble, a very pure and uniformly white stone frequently used in ancient statuary, then incised from a design by the artist in order to create a relief. These cuts are then enhanced with gold leaf to represent lightning strikes. The natural elements, these celestial shards, are inscribed in the genesis of our history. They are thus borrowed by various religions to represent the wrath of the gods or the manifestation of a higher power. These cuts become graphic elements here as well, suggestive of roots or branches of trees and recalling the ancestral Japanese art of Kintsugi, which consists of repairing broken pieces of ceramics by sealing up the different pieces with a resin mixed with powdered gold. Each piece is unique because it is incised with an individual hand-gilded motif. It’s meticulous work which contributes to illustrate the precision and the creativity of the Swiss work. The piece reflects the artist’s practice of enriching his creations with poetic metaphors borrowing from the codes, rhythms, and proportions of Nature to evoke an Ideal, in opposition to the predominant dematerialized and uniform world. Like all of his work, the Thunderstorm (Zeus’s Wrath) series is also a representation of Philippe Cramer’s impulse to establish dialogues between the different artistic processes, the notion of functionality, and the know-how of exceptional craftsmen, too often confined to separate creative fields and victims of the distrust of interdisciplinary exchanges.
- [ARC EN CIEL](https://philippecramer.com/work/arc-en-ciel/) - Key holder, 2020 Photos Eugenia Sierko-Rouchon @hermes
- [YOUNG ACTIVISTS SUMMIT AWARDS](https://philippecramer.com/work/young-activist-summit-awards/) - Award statuettes for the Young Activists Summit, 2019 and 2020 Co-organized by the United Nations, the Swiss radio and television network and the non-profit NGO dev.tv, the Young Activists Summit brought together six young female activists to share their fight and acknowledge their incredible achievements. The summit was held on 10 December 2019 on Human Rights Day and on 20 November 2020 on world Children’s day, in the highly symbolic Human Rights and Alliance of Civilizations Room at the United Nations in Geneva. Each activist received a unique handcrafted award specifically designed for the recipient by Geneva artist and designer Philippe Cramer. Derived from the Captromancie series, the statuettes have anthropomorphic features, evoking the idols from rituals of past civilizations, hammered out from gold plates. The awards are made of gilded aluminium and inserted into stone pedestals from Saint-Triphon, a famous Swiss quarry that is now inactive. To the artist, they are objects of transmission, reminding us of our past and serving as a talisman to facilitate our inscription in the contemporary world. With his creations, Philippe Cramer invites the viewer to reintegrate the founding elements that built our civilization to help shape its future.
- [SPECULA](https://philippecramer.com/work/specula/) - Work in glass, 2019 Part of MUDAC’s contemporary art glass collection. The glass works of the Specula series are part of a new exploratory practice by the Swiss artist and designer Philippe Cramer and are edited in a series of unique pieces by the Mobilab Gallery in Lausanne, Switzerland. This production is made of poured glass, an ancestral technique that is nevertheless complex to carry out. In this experimental context, the surprising structure of the lower surface of the glass element is caused by a thermal shock due to the metal plate on which it is poured. The molten glass is spread on a chilly steel surface to react and contract, generating a wave-like texture, thus contributing to the genesis of the work. Once the piece has cooled, it is silvered to create a shiny effect, similar to a reflection of the sun setting on a sea of agitated water. It thus becomes a mirror distorting reality, a poetic and pictorial work that the spectator discovers and appropriates. There are many references to this work. They evoke the dreamlike reflection of nature in Swiss lakes and refer by their title to both Max Ernst’s specular paintings and to « Specula Principum », the mirror of the Princes, which refers to political writings during the Middle Ages and the Renaissance and whose function was to instruct future princes to reflect on their responsibilities. The mirror of alchemy « Speculum alchemiae » in reference to the transformation of lead into gold (or silver) can also be mentioned, and thus makes the link with the world of magic. The search for poetry is a constant in the work of Philippe Cramer and this new emotional and sensual work is linked to his common artistic language. The Japanese « Yuugen » describing a consciousness of the Universe that generates sensations too deep and mysterious for common words could perfectly correspond to this series. This term embodies and describes a love and respect for the present, past and future beauty of the contemplated element, as if the «life» of an object were part of its splendour with the transformations and modifications that time imposes on it.
- [CELINE](https://philippecramer.com/work/celine/) - Writing desk, 2019
- [CARATS](https://philippecramer.com/work/carats/) - Bench, 2019 Under the title Carats, evocative of luxury and poetry, Philipe Cramer draws a seat, both strict and sensual, inspired by the church bench. The walnut surface is encrusted with sparkling, clear crystals, whose random positioning is reminiscent of a celestial vault cartography. By their transparency, their purity and the geometrical precision of their facets, these stones seem to invoke the divine in contrast with the organic and earth dimension of the walnut capillary structure. The minimal seating surface of the bench creates an illusion of structural lightness and intensifies the fairy and allegorical sense of the work.
- [CAPTROMANCIE](https://philippecramer.com/work/captromancie/) - Wall mobiles, 2019 The theme of the mirror is present in a new series of wall sculptures similar to the mobile, a subject dear to many modern and contemporary artists. This work, which is slightly detached from the wall, evokes outsize jewels playing with reflections, sheen, movement and weightlessness; they are comparable to earrings whose scale the artist chooses to modify here to give them an imposing stature. This series, entitled Captromancie, refers to the presumed divinatory power of reflective surfaces – a belief that has been present throughout the history of mythologies. A glass or polished-metal mirror or an expanse of water were used then as an instrument for glimpsing into the future. Traces of this mystical art can be found in many ancient civilizations, including in Mesopotamia, Greece or some regions of sub-Saharan Africa. Philippe Cramer thinks of each work in the series as a broad piece of wall jewellery made up of a set of flat pieces cut out in soft and sensual shapes linked by metal hooks. Their precious appearance is created by using brass and mirror-polished stainless-steel plates. When assembled, these elements are reminiscent of archetypes of universal symbols, like pre-language pictograms. Being highly symbolic, the mirror has fascinated human beings ever since it was invented. It reflects the image of oneself and so reveals the certainty of existence but also helps to generate the optical illusions of idealization. It thus allows many levels of interpretation, or even allows one to switch to a second reality. Many artists, from Lewis Caroll to Pistoletto, have used the metaphor of the mirror to describe facets of their universe that is difficult to access with more prosaic methods of artistic expression. The mirror also enables the artist to involve the observer as a participant in the work of art and thus to render it alive and intimate. Each piece in the series is made in an edition of 5 pieces and 2 artist’s proofs, which are numbered, dated and signed by the artist.
- [HARMONIA MACROCOSMICA](https://philippecramer.com/work/harmonia-macrocosmica-2/) - Works on paper, 2019 The works on paper in the Harmonia Macrocosmica series are a two-dimensional transposition of the eponymous works on marble. The gemstones scattered on the paper bestow a precious dimension on the work, as the patterns formed by these compositions are reminiscent of star mapping. Whether hand-cut as a cabochon or rose-cut, each stone looks like a drop of watercolour placed on the paper and not absorbed by it, freezing it on the spot like tinted ice. Each work corresponds to one of the artist’s personal constellations, an instinctively-created allegorical language whose meaning – derived from the Universe of the Marvellous – is specific to him. Note : “Harmonia Macrocosmica” is a famous star atlas written by cosmographer Andreas Cellarius (1596-1665). Each one has a unique arrangement of coloured stones and are numbered, dated and signed by the artist.
- [HARMONIA MACROCOSMICA](https://philippecramer.com/work/harmonia-macrocosmica-2-2/) - Sculptures, 2019 The pieces in the Harmonia Macrocosmica series are made of white marble, a sculptural work that evokes objects from liturgical rituals. Each piece is devised like a white-stone basin and is inlaid with semi-precious stones. Amethysts, peridots, citrines, garnets, tourmalines and other precious stones are inlaid around the circumference of the marble elements or look as though they have been scattered on their surface, bestowing on the piece the status of a sacred object, not unlike the Eucharist chalices or tools of Roman Larariums (Gutus and Patera). The stone used is a Philippe Cramer favourite: a pure-white marble with the striking characteristic that it is composed of large grains of crystals that react to light by sparkling, reminding him of the first snowfall. Renowned for its immaculate white colour, this crystalline marble from the Greek Cyclades was used by the most famous sculptors of antiquity to create masterpieces such as the Venus de Milo or the Victory of Samothrace. The special link this stone has with the world of ancient statuary resonates in the work of Philippe Cramer, who likes to build bridges between his work and past civilizations. These pieces are hand-sculpted in an edition of 5 and 2 artist’s proofs per model. Each one has a unique arrangement of coloured stones and are numbered, dated and signed by the artist.
- [CAPTROMANCIE](https://philippecramer.com/work/captromancie-2/) - Wall mobiles, 2019 The theme of the mirror is present in a new series of wall sculptures similar to the mobile, a subject dear to many modern and contemporary artists. This work, which is slightly detached from the wall, evokes outsize jewels playing with reflections, sheen, movement and weightlessness; they are comparable to earrings whose scale the artist chooses to modify here to give them an imposing stature. This series, entitled Captromancie, refers to the presumed divinatory power of reflective surfaces – a belief that has been present throughout the history of mythologies. A glass or polished-metal mirror or an expanse of water were used then as an instrument for glimpsing into the future. Traces of this mystical art can be found in many ancient civilizations, including in Mesopotamia, Greece or some regions of sub-Saharan Africa. Philippe Cramer thinks of each work in the series as a broad piece of wall jewellery made up of a set of flat pieces cut out in soft and sensual shapes linked by metal hooks. Their precious appearance is created by using brass and mirror-polished stainless-steel plates. When assembled, these elements are reminiscent of archetypes of universal symbols, like pre-language pictograms. Being highly symbolic, the mirror has fascinated human beings ever since it was invented. It reflects the image of oneself and so reveals the certainty of existence but also helps to generate the optical illusions of idealization. It thus allows many levels of interpretation, or even allows one to switch to a second reality. Many artists, from Lewis Caroll to Pistoletto, have used the metaphor of the mirror to describe facets of their universe that is difficult to access with more prosaic methods of artistic expression. The mirror also enables the artist to involve the observer as a participant in the work of art and thus to render it alive and intimate. Each piece in the series is made in an edition of 5 pieces and 2 artist’s proofs, which are numbered, dated and signed by the artist.
- [KEY TRAY](https://philippecramer.com/work/key-tray/) - Key tray, 2018 Set of key trays in differents shapes and dimensions Photos Eugenia Sierko-Rouchon @hermes
- [TARGET MIRROR](https://philippecramer.com/work/target-mirror/) - Wall mirror, 2018 Photos Eugenia Sierko-Rouchon @hermes
- [TARGET](https://philippecramer.com/work/target/) - Carpet, 2015 Made to measure. Many colours available.
- [SUSPENDED MIRROR](https://philippecramer.com/work/suspended-mirror/) - Wall mirror, 2018 Photos Eugenia Sierko-Rouchon © hermes
- [SAANEN](https://philippecramer.com/work/saanen/) - Milking stool, 2018
- [CARATS](https://philippecramer.com/work/carats-2/) - Bench, 2017 Under the title “Carats”, evocative of luxury and poetry, Philipe Cramer draws a seat, both strict and sensual, inspired by the church bench. The walnut surface is encrusted with sparkling, clear crystals, whose random positioning is reminiscent of a celestial vault cartography. By their transparency, their purity and the geometrical precision of their facets, these stones seem to invoke the divine in contrast with the organic and earth dimension of the walnut capillary structure. The minimal seating surface of the bench creates an illusion of structural lightness and intensifies the fairy and allegorical sense of the work.
- [ARCHIPEL](https://philippecramer.com/work/archipel/) - Table centerpiece, 2016 Hand carved.
- [AURA](https://philippecramer.com/work/aura/) - Pendant, 2014 - 2024 Bespoke profile of your loved one surrounded by aura emanations.
- [HERMANCE](https://philippecramer.com/work/hermance/) - Coffee table, 2016 Each with a tabletop of unique shape and color.
- [EUGENIE](https://philippecramer.com/work/eugenie/) - Table, 2016
- [DIXENCE](https://philippecramer.com/work/dixence/) - Sofa, 2016
- [CELINE](https://philippecramer.com/work/celine-2/) - Writing desk, 2016
- [CARATS](https://philippecramer.com/work/carats-3/) - Walnut casing, 2016
- [CARDADA](https://philippecramer.com/work/cardada/) - Dining table, 2016
- [RORSCHACH](https://philippecramer.com/work/rorscach/) - Sideboard, 2016
- [BRIGHT LINES](https://philippecramer.com/work/bright-lines/) - Ceiling lamp, 2015
- [AURA OF FIVE](https://philippecramer.com/work/aura-of-five/) - Pendant, 2014 Bespoke necklace with profiles of loved ones.
- [OLE](https://philippecramer.com/work/ole/) - Stool, 2013
- [RORSCHACH](https://philippecramer.com/work/rorschach-2/) - Cabinets, 2011
- [GOLDEN LANDSCAPES : JUNGFRAU](https://philippecramer.com/work/golden-landscape-jungfrau/) - Tapestry, 2011 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional embroidery techniques generally exclusively reserved for royalty, the highest levels of the clergy or the military, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold thread. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white canvas. The wide and round Tondo format mesmerizes and draws the viewer in, evoking the observation effect from binoculars, but also the targets used by archers or snipers. Each work is unique, entirely hand-embroidered with 12 carats gold thread by the Maîtres d’Art who decorate the jackets of the French Academicians and the robes of high-ranking clergy.
- [GOLDEN LANDSCAPES : WEISSHORN](https://philippecramer.com/work/golden-landscape-weisshorn/) - Tapestry, 2011 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional embroidery techniques generally exclusively reserved for royalty, the highest levels of the clergy or the military, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold thread. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white canvas. The wide and round Tondo format mesmerizes and draws the viewer in, evoking the observation effect from binoculars, but also the targets used by archers or snipers. Each work is unique, entirely hand-embroidered with 12 carats gold thread by the Maîtres d’Art who decorate the jackets of the French Academicians and the robes of high-ranking clergy.
- [MON OEIL!](https://philippecramer.com/work/mon-oeil/) - Wall mirror, 2011
- [MONSTERS](https://philippecramer.com/work/monsters/) - Rings, 2011 Monster 1 : amethyst rose cut Monster 2 : almandite garnet cabochon Monster 3 : citrine cabochon Monster 4 : blue topaze rose cut Monster 5 : pink tourmaline cabochon
- [WRITING DESK](https://philippecramer.com/work/writing-desk/) - Writing desk , 2010 Installation for the Museum of Art and history in Geneva, specifically created for the Salon de Cartigny. The salon is a reconstitution of the reception room originally in the Cartigny castle. The wood paneling is the original work by the master wood sculptor Jean Jaquet.
- [L'ORNEMENT JAMAIS](https://philippecramer.com/work/tapestry/) - Tapestry, 2010. Specifically created for the Musée d'Art et d'Histoire Salon de Cartigny, the tapestry is embroidered by hand with gold plated thread. It represents a wood clearing drawn by Philippe Cramer and took three full months to produce by the only Maître d’Art for gold embroidery in France. Philippe continued using this savoir faire for the Golden Landscapes series. The series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional embroidery techniques generally exclusively reserved for royalty, the highest levels of the clergy or the military, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold thread. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white canvas. Each work is unique, entirely hand-embroidered with gold thread by the Maîtres d’Art who decorate the jackets of the French Academicians and the robes of high-ranking clergy. Also by Philippe Cramer and in the Museum's collection : Schwyz, 2002, enameled porcelain and L'Ornement Jamais, 2010, cabinet, fir, gold gilding. Photograph © Annick Wetter
- [GOLD DIPPED](https://philippecramer.com/work/gold-dipped/) - Bracelet, 2010
- [GOLD DIPPING](https://philippecramer.com/work/gold-dipping/) - Ring, 2010
- [ALGORITHMIC QUARTZ](https://philippecramer.com/work/algorithmic-quartz/) - Bracelet, 2009
- [ALGORITHMIC QUARTZ](https://philippecramer.com/work/algorithmic-quartz-2/) - Ring, 2009
- [FLOWER III](https://philippecramer.com/work/flower-iii/) - Ring, 2009 Hand carved citrin in the shape of a flower.
- [BULLDOG](https://philippecramer.com/work/bulldog/) - Ring, 2009
- [BEAGLE](https://philippecramer.com/work/beagle/) - Ring, 2009 Bespoke
- [GONGS](https://philippecramer.com/work/gongs/) - Tables mirrors, 2007
- [STALACTITE](https://philippecramer.com/work/stalactite/) - Center table, 2008
- [RAGAZ](https://philippecramer.com/work/ragaz/) - FULL PORTFOLIO
- [ECÔNE](https://philippecramer.com/work/econe/) - Coffee table, 2006
- [ANDRIENNE](https://philippecramer.com/work/andrienne/) - Console table, 2006 Each with a tabletop of unique shape and color.
- [RANDOGNE BEIGE](https://philippecramer.com/work/randogne-beige/) - Functional light sculpture, 2004
- [PILATUS](https://philippecramer.com/work/pilatus/) - Bernhardt Design Armchair, 2004
- [EDIT](https://philippecramer.com/work/edit/) - Bernhardt Design, Chair, 2004 Multiple finishes available.
- [PRILLY](https://philippecramer.com/work/prilly/) - Mirror, 2003 Mirror and acrylic glass.
- [CHANDOLIN](https://philippecramer.com/work/chandolin/) - Candle, 2003
- [BELLERIVE](https://philippecramer.com/work/bellerive/) - Sofa, 2002
- [VENOGE](https://philippecramer.com/work/venoge/) - Cuff bracelet, 2002
- [MAGGIA](https://philippecramer.com/work/maggia/) - Earrings, 2002
- [PRESSY](https://philippecramer.com/work/pressy/) - Candlestick, 2001
- [CELERINA](https://philippecramer.com/work/celeria/) - Vase, 2001 Part of the collections of the Musée d’art et d’histoire, Maison Tavel, Geneva. Exhibited in the show called “Contradictions”, Cabinets d’arts graphiques, MAH Geneva, 2021.
- [SCHWYZ](https://philippecramer.com/work/schwyz/) - Vase, 2001 Part of the collections of the Musée d’art et d’histoire, Geneva. Exhibited in the show called “Contradictions”, Cabinets d’arts graphiques, MAH Geneva, 2021.
- [BAAR](https://philippecramer.com/work/baar/) - Stool, 2001
- [SILS](https://philippecramer.com/work/sils/) - Vase, 2001 Custom colors available.
- [SARINE](https://philippecramer.com/work/sarine/) - Bracelet and ring, 2001
- [SILVAPLANA](https://philippecramer.com/work/silvaplana/) - Shallow vessel, 2001
- [RHONE](https://philippecramer.com/work/rhone/) - Cuff bracelets, 2001
- [SARINE](https://philippecramer.com/work/sarine-2/) - Ring, 2001
- [AARE](https://philippecramer.com/work/aare/) - Rings, 2001
- [RHIN](https://philippecramer.com/work/rhin/) - Ring, 2001
- [WEISSHORN](https://philippecramer.com/work/weisshorn/) - Oil lamp, 2000
- [WORLD OF INTERIORS 2023](https://philippecramer.com/work/media-world-of-interiors-2023/) - EVENTS LIST
- [PHILIPPE CRAMER](https://philippecramer.com/work/story-philippecramer/) - Philippe Cramer’s creations are often described in contrasting terms, reflecting his interest in diverse artistic currents, materials, and techniques. Words like bold, whimsical, pure, minimal, baroque, and sensuous have been used to capture the essence of his work, which is characterized by a remarkable degree of creative freedom. Born in 1970 in the United States and raised in Switzerland, Philippe was named after his ancestor Philibert Cramer, an 18th-century figure celebrated in poems by Voltaire and paintings by Jean-Etienne Liotard. His family’s artistic legacy includes his uncle Gérald Cramer, who collaborated with renowned artists such as Joan Miró, Pablo Picasso, Marc Chagall, and Henri Matisse on exceptional artist books, and his grandmother Adrienne Cramer, who opened a gallery in Geneva with Alexander Iolas and was closely connected to Jean Tinguely, Niki de Saint Phalle, and Meret Oppenheim. Drawing from this rich heritage, Philippe began his career as a designer of furniture and jewelry, crafting pieces that are both dreamlike and practical, with a desire to enchant and furnish the world. Rather than focusing on functionality, he sought to highlight the essential nature of art, seamlessly merging different disciplines. Today, Philippe concentrates primarily on Fine Art, utilizing traditional craft skills and contemporary production techniques he explored at the start of his career to bring his personal expressions to life. The richness of his unique approach is evident both in the formal aspects of his objects and in his philosophical outlook: balancing the heritage of tradition with the exploration of new models. The Geneva Museum of Art and History granted Philippe "carte blanche" for an exhibition titled "L’Ornement Jamais." The pieces created for this exhibition have since been integrated into the museum’s permanent collection and are now part of the Geneva State Heritage collections. His work is also featured in the collections of the Maison Tavel, Musée de l’Ariana, Musée d’Art et d’Histoire, MUDAC, Groupe Pictet, and numerous private collections. Philippe has been recognized for his contributions to the arts by the UBS Culture Foundation.
- [THE STUDIO](https://philippecramer.com/work/story-thestudio/) - Philippe Cramer owes his freedom of expression to the establishment of his studio in 2001 in Geneva. Much like an artist-run space, he created an environment dedicated to showcasing his work, complementing traditional gallery programs. Conceived as a laboratory, Philippe’s studio is a place of experimentation where he freely develops creative ideas, utilizing both traditional crafts and noble materials, as well as exploring innovative processes and techniques. He strives to offer exceptional work, often marked by natural nuances that can only arise from handcrafting. From his studio, he produces unique artworks and limited editions, each meticulously crafted by exacting and passionate artisans selected for their commitment to his artistic vision and attention to detail. Philippe believes that eliciting positive emotions necessitates public engagement. Therefore, his studio is open to visitors, as an invitation to experience and share their appreciation of his work. Philippe has created awards for the United Nations Young Activists Summit and the Fondation Louis-Jeantet, and has completed projects for Swiss Consulates and Embassies in Geneva and Pretoria. His collaborations include work with Hermès Petit h, Dom Pérignon, Take 5 editions, and Georg Jensen. Additionally, he created pieces for Banque Pictet and Banque Piguet Galland, and Artgenève commissioned him to design the scenography for the ephemeral restaurant Night Fall. Several prestigious institutions and galleries have showcased his work, including ArtCurial, Gallery S. Bensimon, and Not a Gallery in Paris; the Swiss Cultural Center, the Michelangelo Foundation, and Spazio Setmani in Milan; the Audi Foundation in Beirut; Gallery Farb in Gstaad; Ormond Editions in Zurich; Kiscelli Muzeum in Budapest; the Lapidarium of the National Museum in Prague; and the Fondation TEI in Tokyo. In-depth articles about Philippe have been published in numerous publications, including Wallpaper, Vogue, AD, L’Officiel, Metropolis, Le Monde, and the Chicago Tribune.
- [ARCHITECTURAL DIGEST US EDITION](https://philippecramer.com/work/media-architecturaldigest-usedition/) - Architectural Digest US Edition, May 2024 Grecian Yearn by Mitchell Owens, photography by Ambroise Tézenas Article on the home of Tino Zervudachi in Athens featuring Philippe Cramer’s marble and steel sculpture The Colossus of Rhodes’s Eyes on a stand.
- [APUKALUPSIS IS PRESENTED AT THE SWISS EMBASSY IN TOKYO](https://philippecramer.com/work/news-swissembassy-tokyo-apukalupsis/) - Apukalupsis was presented in May 2024 at the Swiss Embassy in Tokyo. The sculpture was shown during the event celebrating the 20 years of the F.P.Journe boutique in Tokyo and the Fondation TEI. Ambassador A. Baum, Mr François-Paul Journe, Mrs Toshico Yoshizaki of Fondation TEI and Philippe Cramer around the sculpture at the Embassy. Apukalupsis, 2024 prototype of an edition of 3 With our warm thanks to Fondation T.E.I, F.P. JOURNE and the Swiss Embassy in Tokyo.
- [L'ART À GENÈVE JANUARY 2024](https://philippecramer.com/work/media-artageneve-0124/) - Interview of Philippe Cramer for art publication L'Art à Genève.
- [PRESTIGE IMMOBILIER 2022](https://philippecramer.com/work/media-prestige-immobilier-2022/) - EVENTS LIST
- [NIGHT FALL 2020](https://philippecramer.com/work/news-night-fall-2020/) - Scenography for the ephemeral restaurant Night Fall during artgenève 2020. Khrysus Petra wall installation and Kyanos & Ponikoro both by Philippe Cramer photographed with Look at me a mirrored glass hanging sculpture by Matteo Gonet. Apotropaic Amulets large scale pieces were displayed in the windows and the walls of the space along with Randogne light sculptures. photo: © Julien Gremaud
- [CRAMERVERSE](https://philippecramer.com/work/news-cramerverse/) - EVENTS LIST
- [L'INFORMATION IMMOBILIÈRE 2022](https://philippecramer.com/work/media-linformation-immobiliere-2022/) - EVENTS LIST
- [SCHONER WOHNEN 2022](https://philippecramer.com/work/media-schoner-wohnen-2022/) - EVENTS LIST
- [TRIBUNE DES ARTS 2021](https://philippecramer.com/work/media-tribune-des-arts-2021/) - EVENTS LIST
- [SCHONER WOHNEN 2021](https://philippecramer.com/work/media-schoner-wohnen-2021/) - EVENTS LIST
- [ESPACE CONTEMPORAINS 2021](https://philippecramer.com/work/media-espace-contemporains-2021/) - EVENTS LIST
- [CAPTROMANCIE 2019](https://philippecramer.com/work/exhibitions-captromancie-2019/) - EVENTS LIST
- [EROS ET THANATOS 2018](https://philippecramer.com/work/exhibitions-eros-et-thanatos-2018/) - EVENTS LIST
- [MAH 2019](https://philippecramer.com/work/media-mah-2019/) - EVENTS LIST
- [MAISONS CÔTÉ EST 2020](https://philippecramer.com/work/media-maisons-cote-est-2020/) - EVENTS LIST
- [SPECULA 2019](https://philippecramer.com/work/exhibitions-specula-2019/) - EVENTS LIST
- [FONDATION TEI EXHIBITION IN TOKYO](https://philippecramer.com/work/fondation-tei-exhibition-in-tokyo/) - "Le temps est une illusion", an exhibition organized by the Fondation TEI for the 20th anniversary of the F.P. Journe boutique in Tokyo. Philippe showed among other these works: Apukalupsis N1, 2024 Golden Landscapes : Silvaplana Lake, 2024 The Throne of Mount Olympus : Gold, 2020 Thunderstorm series, 2019 Objet Stellaire : Moonian Gold, 2022 https://fondationtei.com
- [DECOR DESIGN & INDUSTRIE AT THE MUSEUM OF ART OF GENEVA 2010-2011](https://philippecramer.com/work/decor-design-et-industrie/) - "Décor, Design & Industrie, Les Arts Décoratifs à Genève", exhibition at the MAH Geneva, October 2010 - May 2011. A reference book of the same name was published in 2010 by Edition Somogy, Paris, to accompany the exhibition.
- [OBJET STELLAIRE: VENUSIAN](https://philippecramer.com/work/objet-stellaire-venusian/) - Sculpture, 2022
- [THE PRACTICE](https://philippecramer.com/work/story-thepractice/) - Philippe Cramer creates artworks that bridge the poetic and the functional. He merges soft organic lines with strict geometric shapes, often referencing Antiquity, modern art and nature. His vision combines bold colors with the finest natural materials; his love for wood and stone paired with striking warm hues and gold accents makes him a unique voice in the art world. Emotionally charged and compulsively expressive, Philippe's creations explore how form and material can transcend the utility of language. His work embodies antique archetypes and the inner child, blending them with an unsettling familiarity. Known for his distillation of diverse references, his biomorphic yet abstract shapes feel talismanic not only in their atmospheric qualities but also in their playfulness. Philippe’s work simultaneously invites and resists classification. His art emits a mysterious and ineffable lifeforce as he draws upon his unconscious and his innate sensitivity to reach the universal. Born more from instinct than reason, his art is an act rather than a concept; each creation stems from a visceral, raw sensibility and reflects his fascination with ancient artifacts and the poetry of nature. Collaborating with meticulous and passionate Swiss artisans, Philippe produces contemporary pieces that honor age-old craftsmanship. Each artwork entices with its sensuality: a playful curve, a joyous explosion of color, the raw evidence of its materiality, and the elegance of its refined lines. Poetic, timeless and notable for their originality and quality of realization, his work attracts a public seeking exceptional pieces. Philippe crafts enduring pieces meant to be kept, shared, and handed down, ultimately building bridges between people and ideas.
- [EQUILIBRIUM N° 1](https://philippecramer.com/work/equilibrium-n1-gold/) - Wall mobile, 2024
- [GOLDEN LANDSCAPES : SILVAPLANA LAKE](https://philippecramer.com/work/golden-landscapes-silvaplana-lake-tryptich/) - Tapestry, 2024 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional embroidery techniques generally exclusively reserved for royalty, the highest levels of the clergy or the military, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold thread. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white canvas. The wide and round Tondo format mesmerizes and draws the viewer in, evoking the observation effect from binoculars, but also the targets used by archers or snipers. Each work is unique, entirely hand-embroidered with 12 carats gold thread by the Maîtres d’Art who decorate the jackets of the French Academicians and the robes of high-ranking clergy.
- [PALIMPSEST 2](https://philippecramer.com/work/palimpsest2/) - 2024
- [AETERNUS ETERNUS : TOTEMIC I](https://philippecramer.com/work/aeternus-eternus-totemic/) - Sculpture, 2024
- [GOLDEN LANDSCAPES : BACHALPSEE](https://philippecramer.com/work/golden-landscapes-bachalpsee/) - Sculpture, 2024 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional engraving and gilding techniques, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold paint. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white Tassos marble. The slab of marble edges look as if the piece came from an archeological site, evoking a fragment of history, broken off from the wall of an ancient temple. Each work is unique, first draw by the hand of the artist to be then hand-carved and gilded.
- [THE COLOSSUS OF RHODES' EYES : BLUE](https://philippecramer.com/work/the-colossus-of-rhodess-eyes-blue/) - Sculpture, 2021-2024 Photo © Claude Cortinovis 2024
- [GOLDEN LANDSCAPES : LAUTERHORN](https://philippecramer.com/work/golden-landscapes-lauterhorn/) - Sculpture, 2024 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional engraving and gilding techniques, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold paint. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white Tassos marble. The slab of marble edges look as if the piece came from an archeological site, evoking a fragment of history, broken off from the wall of an ancient temple. Each work is unique, first draw by the hand of the artist to be then hand-carved and gilded.
- [GSTAAD ART 2024](https://philippecramer.com/work/gstaad-art-2024/) - Gstaad Art - February 2024 During Gstaad Art, Philippe was invited to recreate his work "Khrysus Petra" for the entrance of the fair. The gold wall is a metaphor for the splendor and beauty awaiting the collector inside the fair. Upon entering the premises, the spectator was greeted by new Work from Philippe such as "Onar 1, 2 & 3", "Apukalupsis N° 1" or "Spectrum N° 1" among other works. https://www.gstaad-art.ch Photo © Baptiste Janin 2024 et Philippe Cramer 2024
- [L'ART EN HERITAGE 2024](https://philippecramer.com/work/lart-en-heritage-2024/) - "L'Art en Heritage" - September - October 2024 Banque Heritage has invited Philippe Cramer to show in their headquarters in Geneva for a unique exhibition of recent works. The collector is greeted in the courtyard by the Aeternus Eternus : Totemic piece in limestone, an edition of 5 + 2 AP. During the visit, one can discover his new pieces Golden Landscapes : Bachalpsee, Grindelwald Glacier and Lauterhorn, all unique works carved in Tassos marble finished with delicate touches of gold leaf. https://www.heritage.ch/en/news/showcase-event-philippe-cramer Photos © Claude Cortinovis 2024
- [ALEA JACTA EST : EGGLI 1](https://philippecramer.com/work/alea-jacta-est-eggli-1/) - Functional sculpture, 2023 Swiss Alps heritage furniture inlaid with crystals, these unique pieces are created by Philippe Cramer.
- [ELLE DECO FRENCH EDITION](https://philippecramer.com/work/elle-deco-french-edition/) - ELLE DECORATION French Edition, Feb-Mar 2018 Promenade à Genève by Emmanuelle Javelle, photography © Nicolas Tosi / Elle Décoration
- [THE NEW JEWELERS BY OLIVIER DUPON](https://philippecramer.com/work/elle-deco-french-edition-2/) - THE NEW JEWELERS, In this beautiful book, Olivier Dupon introduces the finest modern jewelers practising today. by Olivier Dupon for Thames and Hudson, 2012 ISDN: 9780500516294
- [CHICAGO TRIBUNE APRIL 2005](https://philippecramer.com/work/chicago-tribune-april-2005/) - MIX MASTER, Chicago Tribune, April 24, 2005. Published for the launch of Philippe Cramer's collection Mix Intermix for Bernhardt Design. One of the pieces created was the Edit chair (link on Style Park).
- [LAPIDARIUM PRAGUE 2018](https://philippecramer.com/work/lapidarium-prague-2018/) - Exhibition of Philippe Cramer's Randogne light sculptures at the Lapidarium Museum in Prague. As published in Wallpaper Magazine. Organised by Designblok.
- [ESPACE MURAILLE 2024](https://philippecramer.com/work/espace-muraille-2024/) - Jonathan Monk at Espace Muraille vis a vis Oculus Mirabilis by Philippe Cramer. Geneva Sept - Dec 2024
- [LANDSCAPE AROUND PIENZA AT DUSK, WITH SETTING SUN AND CYPRESS](https://philippecramer.com/work/casa-newton/) - Altar, 2023 This unique piece was created specifically for the Chapel at Casa Newton in Tuscany. The artist Nicolas Party had just finished his mural when Philippe Cramer was asked to intervene in the space. The altar was created with the Tuscan landscape as inspiration, an echo of the surrounding nature much like Philippe's Golden Landscapes embroidery series that portray Swiss mountain scapes. Pictured with its candle holder.
- [GOLDEN LANDSCAPES : GRINDELWALD GLACIER](https://philippecramer.com/work/golden-landscapes-grindelwald-glacier/) - 2024 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Grindelwald are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional engraving techniques, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold gilding. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white marble slabs. The broken off edges brings the onlooker back to archeologic finds, maybe a long lost wall engraving depicting a holy land. Each work is unique, entirely hand-carved and reworked with gold leaf.
- [OBJET STELLAIRE: VENUSIAN](https://philippecramer.com/work/objet-stellaire-venusian-2/) - Sculpture, 2022
- [STELE STELLAIRE 3](https://philippecramer.com/work/stele-stellaire/) - 2025
- [ONAR N° 5](https://philippecramer.com/work/onar-n-5/) - Hand lacquered mirror, glass, wood board and metal.
- [T MAGAZINE POUR LE TEMPS](https://philippecramer.com/work/t-le-temps/) - T Magazine pour Le Temps from December 14th, 2024 Article on Philippe Cramer written by Jill Gasparina for Le Temps, photographs : cover Portrait of Philippe Cramer's reflection in his work The Phantasma Series : Onar by Rebecca Bowring, The Lost Throne of Mount Olympus and Objet Stellaire : Venusian by Marian Gérard, Oculus Mirabilis in-situ and Golden Landscapes : Bachalpsee by Clovis Cortinovis.
- [ART GENÈVE 2025](https://philippecramer.com/work/art-geneve-2025/) - artgenève 2025 booth featuring Aeternus Eternus II, Aeternus Eternus: Totemic I, Onar 5 & 6, Dual inheritance Theory 1, 2 & 3, Stèle Stellaire 1, 2, 3, 4 & 5, Utopia, New Gruben and Objet Stellaire Venusian Gold. Photo: © Annik Wetter
- [ALEA JACTA EST : LAUENEN](https://philippecramer.com/work/alea-jacta-est-lauenen/) - Hand carved Swiss heritage chest inlayed with crystals, 2023 Alea Jacta Est is a series of unique works developed by Philippe. Based on Heritage pieces found in family homes and specialized antique stores, he respectfully inlays them with crystals.
- [MAZE ART GSTAAD 2025](https://philippecramer.com/work/maze-art-gstaad-2025/) - Maze Art Gstaad 2025 booth featuring Le Demiurge, Alea Jacta Est : Eggli, Aeternus Eternus II, Aeternus Eternus: Totemic I, Dual inheritance Theory 1, 2 & 3, Stèle Stellaire 1, 2, 3, 4 & 5, Golden Landscapes, and The Eye of the Colossus of Rhodes. Photography: © Indexsprz & Cramer + Cramer
- [AETERNUS ETERNUS: TOTEMIC I](https://philippecramer.com/work/aeternus-eternus-totemic-2-2/) - Sculpture, 2024. Through this sculpture, Philippe Cramer continues his investigation into the relationship between matter, time, and the public space. The simple, continuous form of the piece, reminiscent of a DNA sequence and the Möbius strip, transcends the apparent simplicity of the gesture to anchor itself in a demanding technical mastery of stonework. The artist suggests that this ancient mass of rock, seemingly frozen for millennia, has been transformed by the influence of a supernatural force. The work has been shown at ArtGenève, Maze/Gstaad and for the exhibition "L'Art en Heritage", Banque Heritage, Geneva.
- [STELE STELLAIRE 1](https://philippecramer.com/work/stele-stellaire-2/) - 2025 Stèle Stellaire is a new series of 5 uniques pieces. These combinations of marble, onyx, slate or limestone are all engraved and gilded once the stone is assembled.
- [STELE STELLAIRE 5](https://philippecramer.com/work/stele-stellaire-5/) - 2025 Stèle Stellaire is a new series of 5 uniques pieces. These combinations of marble, onyx, slate or limestone are all engraved and gilded once the stone is assembled.
- [STELE STELLAIRE 2](https://philippecramer.com/work/stele-stellaire-3/) - 2025 Stèle Stellaire is a new series of 5 uniques pieces. These combinations of marble, onyx, slate or limestone are all engraved and gilded once the stone is assembled.
- [STELE STELLAIRE 4](https://philippecramer.com/work/stele-stellaire-4/) - 2025 Stèle Stellaire is a new series of 5 uniques pieces. These combinations of marble, onyx, slate or limestone are all engraved and gilded once the stone is assembled.
- [AURA IN THE SKY](https://philippecramer.com/work/aura-2/) - Pendant, 2024 Bespoke engraving on gold set with old mine diamonds in a star setting and micro setting on the edge.
- [ONYX AND GOLD ECÔNE](https://philippecramer.com/work/econe-2/) - Coffee table, 2024
- [ALEA JACTA EST: EGGLI 9](https://philippecramer.com/work/alea-jacta-est-eggli-9/) - Functional sculpture, 2025 Swiss Alps heritage furniture inlaid with crystals, these unique pieces are created by Philippe Cramer.
- [AETERNUS ETERNUS: TOTEMIC II](https://philippecramer.com/work/aeternus-eternus-totemic-ii/) - Sculpture, 2025 Photographed in the beautiful mediteranean gardens of the Château Saint-Martin & Spa in Vence for the exhibition of Philippe Cramer's outdoor sculptures. photo © Jean Michel Sordello, 2025
- [GOLDEN LANDSCAPES: SAAS FEE](https://philippecramer.com/work/golden-landscapes-saas-fee/) - Tapestry, 2025 The Golden Landscapes series reflects a dream-like vision of the Swiss mountains, an ode to the beauty of these natural monuments. They recall the works of the Romantics who were fascinated by the dramatic dimension of this pristine environment. The landscapes draw inspiration from the neoclassical Geneva school of painting that celebrated the breathtaking and majestic character of the millennia-old Swiss Alps. Like religious icons, gold is used here to sacralize the subject. The Jungfrau, the Eiger, the Weisshorn and the Monte Rosa are among the timeless landmarks of the country that have inspired so many stories of alpine adventure. Using traditional embroidery techniques generally exclusively reserved for royalty and the highest levels of the clergy, Philippe Cramer nourishes Swiss mythology by recreating the contours and formal characteristics of these famous mountains using gold thread. Having been distilled to their essence, these topographies become almost abstract, ethereal, as graphic monochrome gold compositions on the white canvas. The wide and round Tondo format mesmerizes and draws the viewer in, evoking the observation effect from binoculars. Each work is unique, entirely hand-embroidered with 12 carats gold thread by the Maîtres d’Art who decorate the jackets of the French Academicians and the robes of high-ranking clergy.
- [OCULUS MIRABILIS II AT GRAND PALAIS IN PARIS](https://philippecramer.com/work/oculus-mirabilis-at-grand-palais-in-paris/) - Oculus Mirabilis II by Philippe Cramer. Presented during the biennale Révélations by L’atelier de Moulage du GrandPalaisRmn At Grand Palais in Paris, France May 21-25, 2025 The Oculus Mirabilis II (2025) is co-edited by Philippe Cramer and La Maison Creative Direction using the expertise of the best craftswomen and craftsmen of the Plaster Cast Workshop of the GrandPalaisRmn, a historic workshop originating from the ateliers du Louvre in Paris.
- [NZZ RESIDENCE 03 2025](https://philippecramer.com/work/nzz-residence-03-2025/) - NZZ RESIDENCE 03 2025 Article on Fabienne Lévy written and photographed by Catherine Gailloud for NZZ RESIDENCE, photographs of Philippe Cramer's work The Phantasma Series : Onar on pages 15 and 20 as well as partially on the cover. © 2025 Neue Zurcher Zeitung AG and © Catherine Gailloud
- [PHILIPPE CRAMER AU CHATEAU SAINT-MARTIN & SPA](https://philippecramer.com/work/philippe-cramer-au-chateau-saint-martin-spa/) - The Château Saint-Martin & Spa, an iconic Oetker Collection property, is presenting three sculptures by Philippe Cramer in its Mediterranean gardens throughout the summer of 2025 (until October 12). This is the first solo outdoor exhibition in France by the Geneva-based artist. The works on display – Aeternus Eternus III, Aeternus Eternus: Totemic II and Apukalupsis – are installed in harmony with the surrounding nature and the architecture of the site. They continue the artist's formal and spiritual exploration of archetypes, the sacred and emotion. Conceived as a silent and symbolic presences, they invite contemplation in an environment conducive to beauty and introspection. Special thanks to the Oetker group and the Château Saint-Martin & Spa.
- ["INFILTRATIONS" EXHIBITION IN PLAN-LES-OUATES](https://philippecramer.com/work/infiltrations-exhibition-in-plan-les-ouates/) - This exhibition expresses the will of an art that does not impose itself, but subtly inserts itself into the public space, transforming our perception of places and the way we inhabit them. Here, Philippe's works are presented in the square next to the central fountain, a historical place of congregation in any town. Objet Stellaire: Venusian Gold evokes a celestial antenna, standing like a tuning fork whose song resonates between our ground and the stars. Philippe Cramer thus materializes our earthly belonging and suggests immortality through a link with the beyond. The work's organic forms recall the biological nature and materiality of our composition, and introduce us to the notion of our future envelope. Aeternus Eternus III is inspired by Egyptian cosmogony, it invites visitors to sit, contemplate and interact in a face-to-face. The sculptural torsion of the material reminds us of the perpetual cycle of life and death. "Infiltrations" June 10 - July 13, Plan-les-Ouates, Switzerland Special thanks to the Commune of Plan-les-Ouates, it's Cultural Service and Amir El May for their support. photography : © Indexsprz & Cramer + Cramer
- [OBJET STELLAIRE: VENUSIAN GOLD](https://philippecramer.com/work/objet-stellaire-venusian-gold/) - Sculpture, 2025.
- [OURANOS AT FONDATION OPALE LENS](https://philippecramer.com/work/ouranos-at-fondation-opale-lens/) - Fondation Opale in Lens has permanently installed Ouranos in the garden leading to the foundation. Special thanks to Fondation Opale.
- [DolceVita 11 2025](https://philippecramer.com/work/dolcevita-11-2025/) - DolceVita Article on Geneva written by Adam Stech for DolceVita Tchéquie with a portrait of Philippe Cramer with his work Oculus Mirabilis I, Spectrum N1 and New Gruben. On the same page you will see the Aeternus Eternus II and the Randogne series. The last page of the article shows an image of Onar 5. Portrait of Philippe Cramer © Samuel Spreyz 2025. © 2025 DolceVita
- ["ART A VERBIER" EXHIBITION AT BANQUE LOMBARD ODIER IN VERBIER](https://philippecramer.com/work/art-a-verbier-exhibition-at-banque-lombard-odier-in-verbier/) - A monographic exhibition in the heart of the Alps, where Banque Lombard Odier has kindly invited Philippe Cramer to show his work in their Verbier offices. You will have the chance to see pieces form the Golden Landscapes series, Harmonia Macrocosmica and the Thunderstorm series among other works. The Aeternus Eternus II , that can be seen outside, is inspired by Egyptian cosmogony, it invites visitors to sit, contemplate and interact in a face-to-face. The sculptural torsion of the material reminds us of the perpetual cycle of life and death. "Art à Verbier" Dec 2025 - August 2026, Verbier, Switzerland Special thanks to Banque Lombard Odier for inviting us to show in their premises.
- ["SELECTED WORKS" EXHIBITION AT CHALET TZI IN VERBIER](https://philippecramer.com/work/selected-works-exhibition-at-chalet-tzi-in-verbier/) - Philippe Cramer received a carte blanche to reinvent the ground floor of the Chalet Tzi in Verbier. In this raw space, Philippe is showing Spectrum N°1, Onar 6, Oculus Mirabilis I & II, The Throne of Mount Olympus : Onyx and new work in bronze among other pieces. "Selected Works" Dec 2025 - February 2026, Chalet Tzi, Verbier, Switzerland Special thanks to Christian & Caroline Burrus for the opportunity to show in their beautiful new space. photography © Indexsprz & Cramer + Cramer
- [AETERNUS ETERNUS II PART OF THE PERMENANT COLLECTION OF THE GNAMC IN ROME](https://philippecramer.com/work/aeternus-eternus-ii-part-of-the-permenant-collection-of-the-gnamc-in-rome/) - Philippe Cramer's sculpture Aeternus Eternus II (left twist) is now part of the permanent collections of the Galleria Nazionale d'Arte Moderna e Contemporanea (GNAMC), the National Gallery of Modern and Contemporary Arts in Rome, thanks to the financial support of the Geneva-based Haute Horology F.P.Journe Manufacture. The piece has been integrated into the museum's new layout, called GNAMC Masterpieces, initiated by Director Renata Cristina Mazzantini.
- [CELESTIAL BODY: OGLE-2005-BLG-390L b](https://philippecramer.com/work/celestial-body-ogle-2005-blg-390l-b/) - 2025 Bronze, oak 57 x 40 x ht. 171 cm Download a comprehensive PDF on this artwork With the Celestial Bodies series, Philippe Cramer explores the intersection of sculpture, symbolism, and material transformation. Composed of cast bronze and raw oak, these totemic works evoke archaic idols, megalithic monuments, and celestial forms, while engaging in dialogue with the language of modern sculpture. Their silent verticality recalls both ritual objects and the essential forms pursued by artists such as Constantin Brancusi, whose work sought to reveal the metaphysical essence of things through radical formal reduction. Situated between abstraction and spirituality, Celestial Bodies inhabits an indeterminate temporality—simultaneously ancient and contemporary, terrestrial and cosmic. The title evokes both astronomical bodies and the sculptural object as a self-contained presence. Each work appears as a contemplative axis connecting earth and sky, matter and myth. Material plays a central role in the series. Bronze, historically associated with permanence, memory, and monumentality, is paired with raw oak, whose organic texture introduces a living and terrestrial dimension. In Philippe Cramer’s practice, bronze itself becomes a field of experimentation. Rather than relying on standardized industrial alloys, each composition is developed by hand in the studio from varying proportions of copper, brass, and tin. As a result, every sculpture acquires its own chromatic identity, ranging from warm reddish tones to golden or silvery hues. This process evokes the traditions of alchemy, where the transformation of metals carried both material and symbolic significance. Fire, fusion, and alloying become acts of transmutation through which disparate elements merge into a new unified presence. Entirely handcrafted in Switzerland in collaboration with master artisans, Celestial Bodies reflects Philippe Cramer’s ongoing commitment to materiality, craftsmanship, and contemplative forms capable of carrying both historical memory and contemporary meaning.
- [ART GENÈVE 2026](https://philippecramer.com/work/art-geneve-2026/) - artgenève 2026 booth featuring Aeternus Eternus III, Celestial Bodies, Whispering Stones, Dual inheritance Theory, The Guardian 0f light and Nébuleuse Cinétiques. Photo: © Indexsprz & Cramer + Cramer
- [THE GUARDIAN OF LIGHT I](https://philippecramer.com/work/the-gardian-of-light-i/) - 2026
- [THE GUARDIAN OF LIGHT III](https://philippecramer.com/work/the-guardian-of-light-iii/) - 2026
- [THE GUARDIAN OF LIGHT V](https://philippecramer.com/work/the-guardian-of-light-v/) - 2026
- [NEBULEUSE CINETIQUE II](https://philippecramer.com/work/nebuleuse-cinetique-ii/) - 2026
- [NEBULEUSE CINETIQUE I](https://philippecramer.com/work/nebuleuse-cinetique-i/) - 2026
- [NEBULEUSE CINETIQUE III](https://philippecramer.com/work/nebuleuse-cinetique-iii/) - 2026
- [WHISPERING STONES V](https://philippecramer.com/work/whispering-stones-v/) - 2026 Tinted marble and steel 130 x 40 x 120 cm Download a comprehensive PDF on this artwork With the Whispering Stones series, Philippe Cramer explores the ability of matter to contain images before any human intervention. Created from natural stones whose veins, inclusions, and geological formations evoke landscapes, horizons, and atmospheric phenomena, the works extend a long artistic tradition of “figured” or “landscape” stones, prized since Antiquity and the Renaissance for their capacity to suggest worlds already embedded within the material. Historically, artists such as Giuseppe Cesari, Jacques Stella, Johann König, and Jacopo Ligozzi painted on marble, alabaster, or lapis lazuli, allowing the natural patterns of the stone to participate in the image. These works occupied a singular place in the Renaissance paragone, blurring the boundaries between painting and sculpture, image and object, representation and matter. Philippe Cramer begins from a similar act of recognition: cliffs, clouds, mountains, and horizons appear to emerge from mineral movements formed over geological time. Yet Whispering Stones moves beyond revelation alone. Upon these pre-existing mineral landscapes, the artist introduces elementary geometric forms and colors foreign to the natural palette of the stone. Circles, lines, discs, and archetypal signs become a second language, bringing human temporality, emotion, and symbolic thought into dialogue with geological memory. The works thus stage an encounter between two forms of creation: nature’s slow, silent, non-intentional formation of matter, and humanity’s impulse to organize the world through signs, color, and abstraction. Suspended between landscape and symbol, figuration and projection, Whispering Stones becomes a meditation on perception, deep time, and the coexistence of nature and culture. Each stone seems to whisper rather than declare, offering a space where geological memory and human imagination converse across millennia.
- [WHISPERING STONES I](https://philippecramer.com/work/whispering-stones-i/) - 2026 Lacquered marble and steel 61 x 20 x 34 cm Download a comprehensive PDF on this artwork With the Whispering Stones series, Philippe Cramer explores the ability of matter to contain images before any human intervention. Created from natural stones whose veins, inclusions, and geological formations evoke landscapes, horizons, and atmospheric phenomena, the works extend a long artistic tradition of “figured” or “landscape” stones, prized since Antiquity and the Renaissance for their capacity to suggest worlds already embedded within the material. Historically, artists such as Giuseppe Cesari, Jacques Stella, Johann König, and Jacopo Ligozzi painted on marble, alabaster, or lapis lazuli, allowing the natural patterns of the stone to participate in the image. These works occupied a singular place in the Renaissance paragone, blurring the boundaries between painting and sculpture, image and object, representation and matter. Philippe Cramer begins from a similar act of recognition: cliffs, clouds, mountains, and horizons appear to emerge from mineral movements formed over geological time. Yet Whispering Stones moves beyond revelation alone. Upon these pre-existing mineral landscapes, the artist introduces elementary geometric forms and colors foreign to the natural palette of the stone. Circles, lines, discs, and archetypal signs become a second language, bringing human temporality, emotion, and symbolic thought into dialogue with geological memory. The works thus stage an encounter between two forms of creation: nature’s slow, silent, non-intentional formation of matter, and humanity’s impulse to organize the world through signs, color, and abstraction. Suspended between landscape and symbol, figuration and projection, Whispering Stones becomes a meditation on perception, deep time, and the coexistence of nature and culture. Each stone seems to whisper rather than declare, offering a space where geological memory and human imagination converse across millennia.
- [THE GUARDIAN OF LIGHT VI](https://philippecramer.com/work/the-guardian-of-light-vi/) - 2026
- [BOITE TABLEAU 2](https://philippecramer.com/work/boite-tableau-2/) - Painted oak.
- [WHISPERING STONES II](https://philippecramer.com/work/whispering-stones-ii/) - 2026 Lacquered marble and steel 47 x 20 x 56 cm Download a comprehensive PDF on this artwork With the Whispering Stones series, Philippe Cramer explores the ability of matter to contain images before any human intervention. Created from natural stones whose veins, inclusions, and geological formations evoke landscapes, horizons, and atmospheric phenomena, the works extend a long artistic tradition of “figured” or “landscape” stones, prized since Antiquity and the Renaissance for their capacity to suggest worlds already embedded within the material. Historically, artists such as Giuseppe Cesari, Jacques Stella, Johann König, and Jacopo Ligozzi painted on marble, alabaster, or lapis lazuli, allowing the natural patterns of the stone to participate in the image. These works occupied a singular place in the Renaissance paragone, blurring the boundaries between painting and sculpture, image and object, representation and matter. Philippe Cramer begins from a similar act of recognition: cliffs, clouds, mountains, and horizons appear to emerge from mineral movements formed over geological time. Yet Whispering Stones moves beyond revelation alone. Upon these pre-existing mineral landscapes, the artist introduces elementary geometric forms and colors foreign to the natural palette of the stone. Circles, lines, discs, and archetypal signs become a second language, bringing human temporality, emotion, and symbolic thought into dialogue with geological memory. The works thus stage an encounter between two forms of creation: nature’s slow, silent, non-intentional formation of matter, and humanity’s impulse to organize the world through signs, color, and abstraction. Suspended between landscape and symbol, figuration and projection, Whispering Stones becomes a meditation on perception, deep time, and the coexistence of nature and culture. Each stone seems to whisper rather than declare, offering a space where geological memory and human imagination converse across millennia.
- [CELESTIAL BODY: 16 Cygni Bd(38)](https://philippecramer.com/work/16-cygni-bd38/) - 2025 Bronze, oak 89 x 29 x ht. 189 cm Download a comprehensive PDF on this artwork With the Celestial Bodies series, Philippe Cramer explores the intersection of sculpture, symbolism, and material transformation. Composed of cast bronze and raw oak, these totemic works evoke archaic idols, megalithic monuments, and celestial forms, while engaging in dialogue with the language of modern sculpture. Their silent verticality recalls both ritual objects and the essential forms pursued by artists such as Constantin Brancusi, whose work sought to reveal the metaphysical essence of things through radical formal reduction. Situated between abstraction and spirituality, Celestial Bodies inhabits an indeterminate temporality—simultaneously ancient and contemporary, terrestrial and cosmic. The title evokes both astronomical bodies and the sculptural object as a self-contained presence. Each work appears as a contemplative axis connecting earth and sky, matter and myth. Material plays a central role in the series. Bronze, historically associated with permanence, memory, and monumentality, is paired with raw oak, whose organic texture introduces a living and terrestrial dimension. In Philippe Cramer’s practice, bronze itself becomes a field of experimentation. Rather than relying on standardized industrial alloys, each composition is developed by hand in the studio from varying proportions of copper, brass, and tin. As a result, every sculpture acquires its own chromatic identity, ranging from warm reddish tones to golden or silvery hues. This process evokes the traditions of alchemy, where the transformation of metals carried both material and symbolic significance. Fire, fusion, and alloying become acts of transmutation through which disparate elements merge into a new unified presence. Entirely handcrafted in Switzerland in collaboration with master artisans, Celestial Bodies reflects Philippe Cramer’s ongoing commitment to materiality, craftsmanship, and contemplative forms capable of carrying both historical memory and contemporary meaning.
- [BIENNALE CRANS MONTANA 2023](https://philippecramer.com/work/exhibitions-ouranos-cransmontana-2023/) - Ouranos by Philippe Cramer during the sculpture Biennale de Crans-Montana 2023, commented here in Bilan Magazine by Etienne Dumont. Special Thanks to Commune de Lens & Crans-Montana.
- [ART GENÈVE 2023](https://philippecramer.com/work/exhibitions-art-geneve-2023/) - artgenève 2023 featuring: The Colosus of Rhodes' eyes on a stand, Captromancie Equilibrium, Caprtomancie Gold 2, Apotropaic Amulets phygital sculptures, Aeternus Eternus I, The Phantasma Series: Onar and Objet Stellaire series. photo : © Annik Wetter
- [PAS BESOIN D'UN DESSIN GENEVA 2022](https://philippecramer.com/work/exhibitions-mah-ganeva-pasbesoindundessin/) - "Pas besoin d'un dessin", Musée d'Art et d'Histoire, Geneva February 2022 – juin 2022 exhibition curated by Jean-Hubert Martin featuring L'Ornement Jamais, 2010, gold thread on cotton/linen fabric, unique piece
- [ART GENÈVE 2022](https://philippecramer.com/work/exhibitions-art-geneve-2022/) - artgenève 2022 booth featuring The eyes of the Colossus of Rhodes: Green Oculus Mirabilis I The lost throne of Mount Olympus: Onyx Palimpsest Thunderstorm (Zeus's wrath). photo: © Annik Wetter
- [ANGEL DUST](https://philippecramer.com/work/exhibitions-angel-dust-exhibition-2023/) - Angel Dust exhibition at Chalet Farb, Gstaad, February 2023 The series of works Alea Jacta Est was presented as well as Oculus Mirabilis, The Lost Throne of Mount Olympus: Onyx, Aura Wall Portrait or The Phantasm Series: Onar, among others. The outdoor sculptures Aeternus Eternus I and Objet Stellaire: Mercurian were presented in the surounding landscape. photos: © Annik Wetter
- [ART GENÈVE 2020](https://philippecramer.com/work/exhibitions-art-geneve-2020/) - artgenève 2020 booth featuring Captromancie N°1, Amulettes Apotropaïques, Thunderstom (Zeuz's wrath) and Andrienne. Photo: © Julien Gremaud
- [ART GENÈVE 2024](https://philippecramer.com/work/exhibitions-art-geneve-2024/) - artgenève 2024 booth featuring Spectrum, Onar, Apokalupsis & Apocrypha. photo : © Annik Wetter
- [GOLKONDA 2019](https://philippecramer.com/work/exhibitions-golkonda-2019/) - Golkonda, a collaborative work between Boris Edelstein and Philippe Cramer, was specially created for the first edition of the festival SPIELACT. The installation was presented at the Maison Tavel Museum in June 2019 and was the stage for the performances Miroir, miroir, by Kyan Koshoie and Oh l’eau – les mots by Heike Fiedler. A special thanks to Spielact, Maison Tavel, MAH and Amir El May for their trust.
- [DOPPIA FIRMA I MILAN 2023](https://philippecramer.com/work/exhibition-doppia-i-firma-milan-2023/) - Doppia Firma exhibition at Palazzo Litta in Milan, April 2023
- [SCENOGRAPHY FOR DESSINS NAPOLITAINS 2023](https://philippecramer.com/work/exhibitions-scenographie-expo-dessins-napolitains-2023/) - Scenography of the exhibition “Dessins Napolitains du XVIIe - XIXe siècle” for antique drawing art dealers Sabrier & Paunet– Paris June 2023 Photo: © Caroline de la Gorce https://sabrierpaunet.com/
- [GALLI CRAMER PRESENTATION 2023](https://philippecramer.com/work/news-galli-x-cramer-2023/) - Unveiling of the Galli ♡ Cramer collection designed by Philippe Cramer for Galli Interiors & Manufacture. On May 11 2023, Maison Galli introduced their first collection under the creative direction of Philippe Cramer.
- [LOUIS-JEANTET AWARD CEREMONY 2022](https://philippecramer.com/work/news-prix-louis-jeantet-award-ceremony-2022/) - Prix Louis-Jeantet Award Ceremony 2022 Sculpture created by Philippe Cramer. This work, inspired by a mitochondria, is the official award for all the Louis-Jeantet biomedical research prize winners.
- [DESIGN WITHOUT BORDERS BUDAPEST 2021](https://philippecramer.com/work/exhibitions-design-without-borders-budapest-2021/) - Design Without Borders Budapest 2021
- [MAH 2021](https://philippecramer.com/work/exhibitions-mah-2021/) - Show called “Contradictions” at the Museum of Art and History, Geneva. March 2nd until July 4th, 2021.
- [YOUNG ACTIVISTS SUMMIT UNITED NATIONS 2019](https://philippecramer.com/work/news-young-activists-summit-unitednations-2019/) - Young Activists Summit 2019, United Nations Awards design by Philippe Cramer
- [TINTED WOODS](https://philippecramer.com/work/tinted-woods/) - Series of occasional tables, 2013

## Portfolio Categories

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## Types

- [Media](https://philippecramer.com/event-type/media/)
- [News](https://philippecramer.com/event-type/news/)
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