Asking how humans perceive nature and inhabit the world, French-Swiss artist Julian Charrière begins many of his projects with fieldwork at places with unique or evolving cultural and geophysical identities. Across photography, sound, installation and performance, he also collaborates with scientists, musicians and engineers.
Julian Charrière was born in Morges in Switzerland in 1987. Surrounded by the Alps and the Jura, he was drawn to the outdoors at a young age but because he had hip issues, he initially observed nature more than physically engaging with it. He studied at the Universität der Künste in Berlin, graduating in 2013 from Olafur Eliasson’s Institute for Spatial Experiments, which challenged traditional art-education models.
Julian Charrière blends science and creativity in his observational, questioning artworks that consider the way the Earth is transforming. He regularly visits extreme territories (from volcanoes to coral reefs to glaciers to radioactive areas) to create art that asks us to use our present circumstances to look back to the climate millions of years ago and imagine what it might look like millions of years into the future. His projects unpack established narratives about human life and the idea of time.
Charrière believes that discourse around the climate is often too anthropocentric, focusing on human and economic survival rather than thinking about humanity’s place within ecosystems. He sees that art can change our world view, creating a path for humans to acknowledge that all life forms are interconnected.
Julian Charrière created two projects with Ruinart in 2025. The Lutetian Sea was an ocean that covered much of Europe around 45 million years ago—visiting Ruinart’s chalk cellars allowed Charrière to explore memories of this body of water and also to consider how past climates link to our potential future. His sound, light and water installation Chorals (2025) featured a dark pool and underwater sounds, while Veils (2025) connected coral reefs with the origins of the chalk and limestone soil in the Champagne region.
When the Earth’s atmosphere began to fill with free oxygen more than two billion years ago, it facilitated aerobic life. Charrière wanted to give people the chance to inhale oxygen trapped in iron ore since that time period, and the Museum of Old and New Art in Tasmania created a permanent space for his installation, Breathe, in 2026 that allowed this to happen. Sourcing iron ore from Pilbara in Australia, he explained: “I want people to get all the way back to the beginning of the Earth.”
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