We caught up with the brilliant and insightful Ursula Oberholzer a few weeks ago and have shared our conversation below.

Ursula, looking forward to hearing all of your stories today. We’d love to hear about a project that you’ve worked on that’s meant a lot to you.

Breastifikation (2017) is an installation featuring knitted breasts with enlarged nipples attached to bras and suspended at eye level. This interactive display encouraged viewers to walk among and wear the pieces, prompting a re-examination of societal norms surrounding breast representation in North America. My motivation stemmed from the contrast in public attitudes toward exposed male and female breasts, highlighting accepted/common double standards.
The project was further inspired by a friend’s experience with breast cancer, leading to the creation of knitted breasts for a farewell party, which added emotional depth and community support. I continued to explore various yarn textures and colors, reflecting on body image issues that resonate with women, men, and transitioning individuals.
A viewer’s interpretation of the bra hangers as a symbol of abortion underscored the project’s ability to spark meaningful conversations about body autonomy and societal expectations. Overall, Breastifikation serves as a commentary on identity, health, and the shared experiences surrounding women’s bodies, inviting dialogue in a often-prudish cultural landscape.
Anthropocene (2023) portraits the current epoch of Homo sapiens, one of the oddest species in world history. In pursuit of happiness, wealth and fame, humans wage war, have disputes with loved ones and neighbors, engage in frantic consumerism, extremist politics and devastate our environment. Anthropo-scenes began in 2018 and was exhibited in 2023, featuring ten 5’ by 7’ acrylic, oil, and collage paintings. Each painting captures an element of the chaos in the modern world using news items and iconic imagery, like Hokusai’s The Great Wave or Trump’s ubiquitous photo on the internet. This series chronicles our behavior, its impact on the environment, and the consequential effects on human lives. Sometimes there is a direct connection between elements of a painting, and sometimes there isn’t, much like the unpredictable consequences of our daily actions. A colleague remarked that the varying levels of detail in different elements within a painting mirror the contrast between the impact of society and that of an individual on the environment.
Humor plays a significant role in my imagery, and irreverent references to biblical and political figures diminish their perceived/projected importance. I also continue the tradition of attributing the world’s woes to Eve, the original sinner. Through this these imposingly large paintings, I depict humans as part of a global world and address the impact of my own actions on the environment. Anthropo-scenes intertwines iconic imagery, humor, and serious commentary on human behavior and environmental consequences to create an impactful and layered experience for viewers.

Ursula, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

To be good or bad. To be proper or outspoken. To shine or to hide. To save or to spend. Feminism with humor—art has given me a voice to express all these contrasts. The strength of my practice lies in the diversity of media and recycled materials, allowing me to explore a wide range of ambiguities, build confidence in both my process and what I wish to express. I consider myself a generalist—a dedicated artist with over 15 years of experience. My artistic journey took me to Munich, Germany, where I spent a year painting and exhibiting in Englschalking Ateliers. For the past decade, I have worked in my studio at Complexe Canal Lachine, Montreal and have since developed a versatile practice spanning painting, drawing, collage, and textiles. During that time, I earned a Bachelor of Fine Arts from Concordia University in Montreal in 2020.
My work blends figurative and conceptual art, often drawing inspiration from contemporary issues such as environmental challenges and social inequalities. I also create more traditional pieces—landscapes and portraits—infused with my characteristic whimsical and provocative humor. My inspirations include Vermeer, Manet and Matisse. Manet’s simple yet effective execution and Matisse’s vibrant color palette and compositions help me find clarity when I’m creatively stuck. Among contemporary influences, Alice Neel’s unapologetic portraits and Alex Katz’s stylized, flattened sceneries resonate with me. Recently, medieval imagery—particularly its emphasis on scale differences—has appeared in my latest paintings, for example in the Anthropo-scenes series.
In my drawings, paintings, and collages, I start with a general idea and theme in mind. Through layering, addition, and subtraction, new worlds emerge. I avoid excessive detail, instead focusing on composition. I play with blocks of color and lines to create form. I always feel the excitement of seeing the image come to life. For example, the Madonna and Child painting, completed in 2023, had a rocky start in 2017 with images of an evil rabbit and a girl in a bubble gum t-shirt before settling on the baby and her laughing mother.
For conceptual works, I begin with a weighty word with multiple meanings. For example, in the Zipper (2024), I sewed the zipper into various fabrics stretched over 9” by 9” surfaces. The zipper can be opened or closed, inclusive or exclusive, and can refer to inside or outside. With this series, I explore various interpretations relating to a woman’s body.
I’ve also rediscovered my love of textiles. As a young woman, I sewed frequently and spent countless hours in fabric stores sampling different materials. Over the past three years, I’ve created the Ribambelle a series of 100 knitted dolls, each between 6 to 10 inches tall, dressed in unique detailed stylish clothing made from fabric scraps I’ve accumulated over the years. The goal of this project is to promote diversity and inclusion—each doll is unique, with slightly different skin textures and tones, yet each one is recognizable by its same characteristic raspberry mouth and big eyes.
I continue to explore different genres and am currently working on a children’s book that delves into the realm of dreams and the gray area between reality and imagination. I hope to publish the book by the end of this year.

How can we best help foster a strong, supportive environment for artists and creatives?

Online platforms have become essential, but they’re often dominated by algorithms that favor rapid consumption over deep engagement, which is particularly detrimental to slower, more contemplative art forms.
The idea of creating more accessible physical spaces for artists in cities is both practical and forward-thinking. Temporary use of empty storefronts or public spaces for exhibitions would inject life into urban areas while providing artists with a low-cost venue to showcase their work. It could also foster a stronger connection between art and the community, as these spaces would be more approachable than traditional galleries. While galleries are spaces that promote art and give access to viewers to the physical work, they are either often exclusive for an artist elite, or profit-driven, and expensive. The challenge is in the logistics—securing these public or temporary spaces and ensuring that they remain affordable and accessible to artists without falling prey to commercialization. In addition, these centers should not be run by a single individual who makes the selection of artists. Eliminating the selection process would foster a more inclusive and vibrant artistic community. These centers should be about accessibility, creativity, and diversity, rather than gatekeeping.
As well, art should be more deeply integrated within education. Creativity is not a luxury—it’s a necessity for developing critical thinking, problem-solving skills, and emotional intelligence in children. By emphasizing exploration and process rather than the final product, we allow students to think more freely, which helps them in all areas of life. When art is seen as an “extra” rather than a core subject, we lose the potential to foster imaginative thinkers who are comfortable with ambiguity and open-ended solutions—qualities that are just as important in science and business as they are in art. Better art education is about developing well-rounded citizens who appreciate culture, are capable of creative thinking, and can engage with the world in more nuanced ways.

Are there any resources you wish you knew about earlier in your creative journey?

There are three things I wished I had known earlier when I began my artistic career.
Branding: Creating a unique and recognizable brand is key. It is what helps one stand out in a crowded market. However, the challenge is to also evolve. The trick is to find a balance between consistency and innovation. One’s work should have a signature style and show growth and experimentation. With careful planning and a willingness to take risks, it’s possible to both satisfy the audience’s expectations and surprise them.
Time Management: Time can easily slip away in this world of constant distraction and demands. The internet is both a boon and a curse for artists: It is both essential for marketing and networking, and a massive time sink. Setting strict boundaries for one’s online activities—say, dedicating specific hours or days to social media and marketing—can help one stay focused. I’d also recommend using productivity tools or apps that can track time and block distractions. Prioritize one’s creative work first and treat online activities as secondary but necessary tasks.
Community: The importance of staying connected to an artistic community cannot be overstated. After leaving art school, it’s easy to feel isolated. Yet being part of a group can keep one inspired, motivated, and grounded. Whether it’s an informal group of artist friends, a local art collective, or even an online community, these connections provide emotional support, constructive feedback, and collaborative opportunities. Group exhibits are a fantastic way to share the burden of organizing, and also to draw in more diverse audiences.
Branding, time management, and community intersect. They are all about creating a sustainable practice. Branding gives one a professional identity, time management promotes productivity, and community fosters networking and inspiration and collaborations. Continuing education, even informally, is another important aspect. Whether it is taking workshops, reading extensively, or attending lectures and exhibitions, staying intellectually engaged keeps one’s work relevant and innovative.

Contact Info:

• Website: https://ursulainmontreal.squarespace.com
• Instagram: obi_colored; ursulainmontreal
• Facebook: ursula oberholzer
• Linkedin: ursula oberholzer

Image Credits

portrait: Colette Campbell Moscrop
Ribambelle: Earl Corales
Breastifikation: William Zerges