Sibylle Werkmeister is the founder and former director and lecturer at the ‘Freie Kunstakademie Überlingen’ (Lake Constance), in Germany. In 2016 she decided to devote herself entirely to her own art, and since then has been living and working in Cervera del Maestre.
She can look back on a long career as an artist and during this time she has created a self-building, creative work.
Werkmeister was born in Baden Würtemberg and later lived in South America, where she studied art in Santiago, Chile with Prof. Raul Bustamante.
The seven years in South America shaped her. The continent of Pablo Neruda and Diego Rivera had a great emotional influence on all of her artistic work. Neruda’s poems and Rivera’s large wall paintings showed her a closeness to the land, people and her great love for South America. One example being, the folklore paintings depicting people with oversized feet, showing their attachment to the land, later appearing in Werkmeister’s own works.
With Prof. Raul Bustamante she completed her academic training in drawing and painting which gave her the stable basis later for following Abstractions.
Werkmeister’s own interest in Egyptian archaeology, especially the pyramids, soon led her to the essence, the square.
Whether large formats or intimate portraits, early or current works, they are always subject to the play with line, surface and colour. Space becomes a suspect, but in reality it is only an illusion.
People, architecture, lines and colours are reduced to the essentials and find themselves in a painterly movement, which in its essence becomes a new abstract reality.
Her work hangs in collections, museums, public buildings, companies and private houses at home and abroad.
With her series ‘Muros’ and ‘Swinging Lines’ Werkmeister turns to Spain, its structures, colours and the dramaturgy of light and shadow. “MUROS” reflects the hardness and softness of the forms. Light and shadow draw bizarre forms. Reduced to a few colour nuances, the images are characterized by elegant sand and grey tones, the softness of which is broken by black graphics. The rusty red of the earth and abstract, almost geometric shapes, complete the circle to an artistic work that is always looking for the essence.
In her large works “QUADRAT”, abstraction experiences its essence. Like Malevich, who dubbed the square as the divine form, Werkmeister’s squares are reminiscent of the colour field painting of Abstract Expressionism. But here too, Werkmeister develops her own language on the canvas. The works, which appear almost monochrome from a distance, show a vortex of colours close-up. Applied in many layers, impasto, suprematic, in a moving style, they blur the boundary between painting and object through their structural expression.
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