Opening reception June 15, 2pm–Midnight
Rittergasse 21-25, Basel, Switzerland
Opening reception June 15, 2pm–Midnight
Opening reception June 15, 2pm–Midnight

Witt Fetter
Anaheim (Matterhorn), 2025
Oil on canvas
30 x 25 in (76.2 x 63.5 cm)
Derosia is pleased to present Witt Fetter at the 2025 edition of Basel Social Club. In a series of four paintings, Fetter considers the popular associations of Switzerland with neutrality, wealth, and the picturesque. As in her practice as a whole, she continues to identify conceptual and aesthetic patterns across a range of imagery as a means of understanding the disorienting conditions of contemporary life.
In the landscape paintings Anaheim (Matterhorn), Zurich (Mahmood Mosque), and Basel (Roche Towers), three structures fracture the presumed logic of their surroundings: an alpine peak emerges from Southern California’s Disneyland amidst the haze of a desert metropolis; Switzerland’s oldest mosque appears against the backdrop of a 2009 federal ban on the construction of new Islamic minarets in the country; and the headquarters of Roche pharmaceutical company—the tallest buildings in Switzerland—punctuate a landscape of lateral topography.
Fetter’s practice attends to the friction between the materiality of a painting and the optics of an image. An imperative for depth and realism offsets a preoccupation with surface and beauty. In Swiss Miss, the neither flat nor illusionistic rendering of an American hot chocolate product invents an ambiguous spatial logic. Throughout Witt Fetter’s paintings, an aesthetics of neutrality and order in hue, composition, and affect breaks to reveal a more complex and critical engagement with the world.
Witt Fetter (b. 1994, Los Angeles, CA) lives and works in New York, NY. Selected solo exhibitions include Derosia, New York (2024); Fierman, New York (2023); and Estrella Gallery, New York (2022). Recent group exhibitions include Derosia, New York (2023); GEMS, New York (2023); Fierman, New York (2023); and Simone Subal, New York (2022). Her work has been written about in Aperture Magazine, Interview Magazine, and Artnet.