“You think it will never happen to you, that it cannot happen to you, that you are the only person in the world to whom none of these things will ever happen, and then, one by one, they all begin to happen to you, in the same way they happen to everyone else. ”
About
Myra Boussinet
Born in 1971, Barcelona
Based in Amsterdam
Myra Boussinet is a Spanish visual artist based in Amsterdam. She holds a Fine Arts degree from the University of Barcelona. After many years working in art education, a personal fracture redirected her path and brought her back to her own artistic practice, where she investigates how we inhabit absence, endure fracture and rebuild meaning in moments of uncertainty.
Her work explores the metaphorical potential of humble materials, engaging with questions of loss, vulnerability and inner transformation. Through textile collage and assemblage, she examines how form can emerge from disruption and how absence can be given texture and weight.
She began developing her current body of work in 2024 and is now consolidating a practice grounded in material enquiry and an evolving visual grammar.
On the work
Adversity forces us back into the real, pushing us to confront existence without any form of shelter — the old world and your former self become unreachable. Social constructs, emotional safeguards and inherited narratives simply fall away.
Society survives only through the illusions we build around ourselves. But when you’re pushed to its margins — where civilization thins out and gives way to nature — you encounter a different order: isolation, indifference and the unruly chaos that Herzog captures with such clarity, a world presented as an overwhelming obscenity.
My practice becomes a way of countering that chaos — a space to let things spill out, settle and shift into something workable. It provides balance, a form of refuge, a way to stay anchored when everything else feels uncertain.
Within this frame, play becomes the most serious mode of meaning-making. It is a way of saying yes to life precisely when its fragility and futility come sharply into view.
“No es el muerto quien se nos muere, somos nosotros los que morimos en él.”
My work draws on symbolic and archetypal imagery to reflect on the wreckage left by loss, in dialogue with philosophical perspectives on inner transformation and renewal.
Unprocessed sheep wool, reclaimed fabrics, found objects and discarded wooden fragments gather in my studio. I let them sit together until a connection surfaces — a Breton-esque trace of memory asking to be acknowledged. I work by listening to the materials, allowing their resistances, histories, accidents and vulnerabilities to steer the form each piece eventually takes. Metaphors and ideas surface gradually. Salvaging and collecting found and discarded materials is often part of my practice.
My process is not methodical; it moves through intuition, momentum and the exchanges that occur between materials.
Ultimately, my work investigates how matter can hold rupture, how transformation becomes tangible, and how materials can carry complex symbolic weight.
Raw sheep wool in my ongoing body of work functions as a threshold between life and death, a material that still carries the trace of the animal and the roughness of the landscape.
It belongs neither fully to nature —it has been removed— nor to society —it has not been domesticated— and instead inhabits that in-between state where the living and the inert coexist.
In its most unprocessed form, wool embodies a radical vulnerability: it is both shelter and residue, presence and loss. By working with this borderland material, I explore how it can hold the weight of disappearance while opening a space for transformation. It becomes a connective tissue between worlds, a physical reminder that creation always emerges from the friction between nature and culture, origin and rupture.
This so-called "waste" material resonates with the current cultural climate —a moment marked by ecological anxiety, exhaustion with hyper-digital life —a culture saturated with screens and perfected surfaces, and a collective desire to return to forms of truth that feel tactile, grounded and unmediated.
Its rough, unprocessed presence becomes a form of resistance —a reminder that in an era of digital abstraction, the truth of matter, vulnerability and mortality remains essential.
Contact
For information on available works, please contact the studio:
studiomyraboussinet (at) gmail (dot) com
Studio visits (by appointment only):
Barndegat 6-8
Zaandam
The Netherlands