Sibylle Springer

white out, 2015, Acryl, Gouache und Tusche auf Leinwand, 200 x 210 cm
white out, 2015, Acryl, Gouache und Tusche auf Leinwand, 200 x 210 cm 1/10
silver surfer, 2016, Acryl auf Leinwand, 190 x 170 cm
silver surfer, 2016, Acryl auf Leinwand, 190 x 170 cm 2/10
chat, 2015, Acryl und Tusche auf Leinwand, 220 x 200 cm
chat, 2015, Acryl und Tusche auf Leinwand, 220 x 200 cm 3/10
sheen, 2015, Acryl auf Leinwand, 160 x 170 cm
sheen, 2015, Acryl auf Leinwand, 160 x 170 cm 4/10
o.T. (Doppelportrait), 2016, Acryl auf Leinwand, 53 x 43 cm
o.T. (Doppelportrait), 2016, Acryl auf Leinwand, 53 x 43 cm 5/10
Kopf eines Kindes, 2016, Acryl und Tusche auf Leinwand, 29 x 25 cm
Kopf eines Kindes, 2016, Acryl und Tusche auf Leinwand, 29 x 25 cm 6/10
hell, 2016, Acryl, Acryllack und Aquarell auf Leinwand, 160 x 170 cm
hell, 2016, Acryl, Acryllack und Aquarell auf Leinwand, 160 x 170 cm 7/10
heat, 2015, Acryl auf Leinwand, 230 x 140 cm
heat, 2015, Acryl auf Leinwand, 230 x 140 cm 8/10
Gentileschi / Judith enthauptet Holofernes, 2012 / 2013, Acrylic on canvas, 199 x 162 cm
Gentileschi / Judith enthauptet Holofernes, 2012 / 2013, Acrylic on canvas, 199 x 162 cm 9/10
Rembrandt, Die Blendung Simsons, 2014, Bluepaperdrawing, 41 x 54,4 cm
Rembrandt, Die Blendung Simsons, 2014, Bluepaperdrawing, 41 x 54,4 cm 10/10

Sibylle Springers paintings embody a unique way of representation and an irrevocably recognizable style, whereby her choice of motif and subject differ a lot. The pictures are often showing intermediate states, phenomenona, which, as fleeting coincidences, fairly are recognized in everyday life. The viewer is put in worlds which he never before has experienced this intense – and he sees depending on the distance he takes to the painting something completely different. This has to do particularly with the special painting technique of Sibylle Springer. Her pictures reveal themselves from a complicated texture from different line layers and hatchings. These build, observating the picture, a kind of haze in front of the eyes like by strong rain or fog. In 2011 Sibylle Springer began to re-enact works from art history by this technique. To this she sais herself that she is interested in the “Intermediate tones, the vague and the dichotomy of Christian iconography”. This interest affects the structure which Springer confers the works produced by her in original format.

She covers the underpaint with a multilayered web of fine strokes, wherefrom an effect of flimmering blurriness emerges.

That way she doesn’t only update her role models from art history but aquires an own way of painting and competes with them. One of those models is the in Detroit living painter Hernan Bas who in one image reinterpreted the Martytium of the holy Sebastian with a hurtful and at the same time lustful gestus. It occurs in the work of Sibylle Springer impressively in a new correlation of Christian Iconography and contemporary painting.

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