Phonecalls to my homecountry and even good friends, cannot help feeling homesick sometimes.

Eating Thai style food does! Please think of small villages, wooden farmerhouses and ricefields and join my Dinnerparty. I hope you like the food, I prepared!

Will the leopard hunt the zebra or the giraff hunt the tiger?

The butterfly doesnot care and files any way!

"While Rembrant was commissioned to paint 'The Night Watch' Devaragampola Silwathenna, court painter for King Keerthi Sri Rajasingha at the Kandy in Sri Lanka developed a new style of Buddhist temple mural paintings.'' This new style started to take influence from foreign architecture and art as well as with the native art and culture.

I work with ideas of colonialism and post-colonialism these contrast a western or 'modern' aesthetic with South-Indian traditional religious arts crafts and spiritual arts.

My work is about looking; the way I observe the world around me. How daily objects like houses, people, events are seen. It could be everything. To express my view I manner the paint in different ways. Often make a realistic form more abstract. The objects or events I choose must have touched me personally. For this painting you see my friend, and I. We are dancing. On the left side you see an impression of the room I lived for a while; however on the right you see a second perspective of that space. To combine different objects and (sometimes) using more than one canvas gives me the freedom to make a more dynamic painting.

De kindertijd is een van mijn grootste inspiraties. De fantasie, spontaniteit, onschuld en de naiviteit van deze periode fascineren mij zeer. Daar speel ik mee.
Mijn media zijn voornamelijk animatie en schilderen.
In mijn kunst speel ik met verhalen die ik zelf verzin.
Er duiken meestal vrouwelijke personages op die van alles schijnen te kunnen wat voor normale mensen niet mogelijk is, zoals bijv. de beervrouw, de onkruidvrouw, de katvrouw etc.

The childhood is one of my biggest inspirations. The fantasy, spontaneity,
innocence and the naivety of this period fascinate me. I play with that.
My media are mainly animation and painting.
In my art I play with story’s that I invent myself.
Usually some female personages appear who seem to be able to do all kinds of things that normal people are not able to do, like for example the bearwoman, katwoman, dogwoman etc.

WIND

In this video, background the windmill move, human being get energy from it. On the ground, you can see my shadow. I move my hand in the opposite directions. I try to make energy. Where we can get energy, where we can turn the energy back......

Scheidegger works within the romantic tradition giving a contemporary vision on the sublime experience. Her work "Dawn" is an explicit citation of the work of romantic painter Caspar David Friedrich (1774-1840) with its infinite distances and seaviews. In the 18th century notion of reality it was the powers of nature that humbled us. Now in our contemporary social setting, it is consumer-driven temptation and media whilrwind that overwhelm us as nature's powers once did. Like Friederich, Scheidegger captures our desires and emotions, holding them to be subjected to the contemporary powers that she calls upon in her work.

The work consists of different layers of red and green color fields that move according a strictly defined pattern on top of a not moving white background. While they move from left to right and back (the red fields- the green fields move the opposite direction), they scale wide and narrow at the same time. That pattern makes them appear crawling across the monitor in the first place but the longer the fields expand their lives the higher the value becomes up to which they scale to. So the bigger the fields become the more they merge with the other fields of the same color and, as a result, they form accidental compositions of different variations of red and green (and white, the not moving background color).
Notes:
Because the sizes of the color fields change over time, something like a story is evoking. The tension of the work is partly because of that, as the spectator realizes that something is developing without knowing the pattern behind it, he expects a result in terms of which color will be the one ultimately covering the whole screen? Is there an intension (a storyboard) behind that particular movement that he was just seeing?
My first intention was to create a piece that would undermine the spectators' expectation of the artist to do everything intentionally. So the goal was to find a scheme that would produce a sequence of images that would create something like a story line because they were developing into some kind of a result over time (which would imply a certain amount of intention of the artist), and that at the same time would only just produce random images. It is inherent to using a scheme that the artist cannot foresee every image that would emerge at every single moment.
The tension of the work consists not merely of the resulting divergence of intentionally and accidentally, but also in the unpredictable appearance of beauty and noise in an also unpredictable order.