Miriam Sentler (b. 1994) is an interdisciplinary artist, working mainly within the fields of installation, video and writing. Born in Germany but residing in the Netherlands, she holds a Bachelors degree from the Academy of Fine Arts Maastricht (NL) and is currently pursuing a Master Degree in Artistic Research at the University of Amsterdam (NL). From 2017 until 2018 she lived in London (UK), where she achieved a certificate in Visual Anthropology from Goldsmiths, University of Arts London.

Since graduation in 2016, she participated in the RAVI residency program (BE) and the LWC Arctic residency (NO) next to taking part in several group exhibitions and artistic research projects in Europe. Her work has been shown in several art galleries and exhibition spaces amongst Gallery Ron Mandos Amsterdam (NL), Marres, House for contemporary culture (NL) Barcsay Hall Budapest (HU) and Biennale L’Image Possible (BE). For her graduation project, she has been nominated for the Henriette Hustinx Award, the Ron Mandos Young Blood Award and the Young Master Award.
Artist Statement

‘Using several mediums, I build complex narrative constructions which aim to connect personal experiences with collective memory and Western symbolism. By reviewing certain moments through the lens of the ‘bricoleur’ (Claude Lévi-Strauss, 1962) and further elaborating on them by the constant use of association, my work is emphasizing the strange accumulation of  (traveling) phenomena which happen around us on a daily basis, shaping the way in which the world is experienced within the meta-modern times. Following these phenomena can lead to a camel in the Arctic desert or a singing stone in the Italian Dolomites, constantly dipping in and out of the realms of fiction and reality in the process. Furthermore, the notion of man-made and natural and the emotional charge which is often projected on landscapes and industrial objects are leading interests. Although my work is sensitive to fields outside of the Fine Arts, it doesn’t aim to present solutions to the often political, anthropological or ecological phenomena which it reflects upon. It is rather concerned with the highlighting of their presence and the notion of absurd moments in general; as in Lévi-Strauss’s words: “The bricoleur works with the things he has on hand, creating new mythological worlds in the process”.’