Her work runs from fuzzy travel pictures to films charting city landscapes, from an installation Paris commissioned for its Bonne Nouvelle metro stop to a box-like cement structure Gonzalez-Foerster erected in a park for an exhibit last year in Kassel, Germany. It is not only her love of collaboration, but the range of her work that makes the artist an intriguing figure on the art scene.
"I guess you could call me a visual artist," she explains. "But I’d prefer to be called a space artist. You see, my thing is space, which is constantly changing by the way people interact with it."
In any case, Gonzalez-Foerster has no intention of pinning herself down. "I’d feel imprisoned if I stuck to one style," she says. "Having a signature style, which is the big thing in the art market right now, isn’t my thing. I focus on process rather than product. I can explore the notion of space as equally in a film as in a shop. Each new format is a new opportunity to be an artist, to enlarge the vocabulary.
"Hybrid," she concludes, "is the most interesting thing."