”It is about forms in motion in an imaginary world. About the fraction of a movement at the decisive moment.
Colour landscapes that people sometimes walk through and invite dialogue.
They are not works that dictate superficial messages, they do not provide answers, but rely on deceleration.
THEY LEAD INTO THE OPEN AND THUS INTO THE FREEDOM OF THE VIEWER.“
Anke Geberts, Der Hamburger
↓
Sylvia Goebel ⬤ is a contemporary visual artist.
She lives and works in Hamburg.
Vita
1970— 1973
Studies in UK and French-speaking Switzerland
Classes at private art schools
1974— 1977
Residence in the Kibbutz
Bezalel Academy for Art, Jerusalem, Israel
1978
Return to Germany, continuation of studies
since 1986
freelance artist, Member of BBK Hamburg
2005
half a year period of study in Italy
”Standing in the tradition of abstract expressionism, Sylvia Goebel works to a large extent by applying and scraping off layers of colour, creating, especially on her large canvas works, an indeterminate ambience of hidden meanings, of DEPTH and intensity, then again of LIGHT WIDTH.“
Hamburger Abendblatt
”Sylvia Goebel's paintings are an outstanding SCHOOL OF SEEING - they are a deep reflection on the magic and fragility of the moment. (...) Her COLOURS AND SHAPES seem to lead a PHANTASTIC LIFE OF THEIR OWN - sometimes delicate and broken, to then abruptly change again into an OSCILLATING LIGHT, a seemingly indifferent fleetingness can suddenly BREAK UP and abruptly give way to a dizzying pull.“
Dr. Hans Thomas Carstensen (art historian), catalogue text
”Sensitivity and DYNAMICS do not contradict each other. In Sylvia Goebel's paintings, this AMBIVALENCE of expression is decisive. The colour NUANCENREICH swings softly on mostly large-format paintings. (...) The application of paint is always impulsive; yet the lively gesture in Goebel's paintings serves as an ORDERING PRINCIPLE.“
Ursula Herrndorf, Hamburger Abendblatt
”PLEASANTLY NON-REPRESENTATIONAL, PARTLY AGAIN HOLDING FIGURATIVE MOTIFS, AN AESTHETIC IDIOSYNCRASY IS SHOWN IN PURE COLOUR, WHICH DISTINGUISHES THE WORK, BECAUSE THE SPOT OF COLOUR, THE SPLASH AND THE BLOB - ALL DIFFERENTLY AESTHETIC STRUCTURAL STATES OF PAINTING - ARE TRANSFERRED AND COMPOSED BY THE ARTIST INTO AN INFORMAL CONTEXT, WHERE THE COLOUR IS NOT ONLY THE MOTIF, BUT WHERE THE PART-SURFACE RHYTHM AND COLOURFUL ROTATION BECOMES TANGIBLE.“
Prof. Dr. Rolf-Hermann Geller
(art historian), Catalogue text
”It is about forms in motion in an imaginary world. About the fraction of a movement at the decisive moment.
Colour landscapes that people sometimes walk through and invite dialogue.
They are not works that dictate superficial messages, they do not provide answers, but rely on deceleration.
THEY LEAD INTO THE OPEN AND THUS INTO THE FREEDOM OF THE VIEWER.“
Anke Geberts, Der Hamburger
↓
Vita
1970— 1973
Studies in UK and French-speaking Switzerland
Classes at private art schools
1974— 1977
Israel, Kibbuz Kunstakademie Bezalel, Jerusalem.
1978
Rückkehr nach Deutschland, Fortsetzung der Studien.
since 1986
freischaffende Künstlerin, Mitglied im BBK Hamburg
2005
half a year period of study in Italy
”Standing in the tradition of abstract expressionism, Sylvia Goebel works to a large extent by applying and scraping off layers of colour, creating, especially on her large canvas works, an indeterminate ambience of hidden meanings, of DEPTH and intensity, then again of LIGHT WIDTH.“
Hamburger Abendblatt
”Sylvia Goebel's paintings are an outstanding SCHOOL OF SEEING - they are a deep reflection on the magic and fragility of the moment. (...) Her COLOURS AND SHAPES seem to lead a PHANTASTIC LIFE OF THEIR OWN - sometimes delicate and broken, to then abruptly change again into an OSCILLATING LIGHT, a seemingly indifferent fleetingness can suddenly BREAK UP and abruptly give way to a dizzying pull.“
Dr. Hans Thomas Carstensen (art historian), catalogue text
”Sensitivity and DYNAMICS do not contradict each other. In Sylvia Goebel's paintings, this AMBIVALENCE of expression is decisive. The colour NUANCENREICH swings softly on mostly large-format paintings. (...) The application of paint is always impulsive; yet the lively gesture in Goebel's paintings serves as an ORDERING PRINCIPLE.“
Ursula Herrndorf, Hamburger Abendblatt
”PLEASANTLY NON-REPRESENTATIONAL, PARTLY AGAIN HOLDING FIGURATIVE MOTIFS, AN AESTHETIC IDIOSYNCRASY IS SHOWN IN PURE COLOUR, WHICH DISTINGUISHES THE WORK, BECAUSE THE SPOT OF COLOUR, THE SPLASH AND THE BLOB - ALL DIFFERENTLY AESTHETIC STRUCTURAL STATES OF PAINTING - ARE TRANSFERRED AND COMPOSED BY THE ARTIST INTO AN INFORMAL CONTEXT, WHERE THE COLOUR IS NOT ONLY THE MOTIF, BUT WHERE THE PART-SURFACE RHYTHM AND COLOURFUL ROTATION BECOMES TANGIBLE.“
Prof. Dr. Rolf-Hermann Geller
(art historian), Catalogue text