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Here I show a selection from two groups of works:
Working with oven-shaped glass
and installations with fragments of Berlin ruins.

Works with oven-shaped glass

FLUSS is my first work with oven-shaped glass. As I did from the beginning when I was painting, I also combine several things into a three-dimensional whole.

The name LOB DEM ÜBFLUSS is derived from the fact that the bronze part is the overflow of a casting. I discovered it on the floor of a bronze foundry and was allowed to take it with me for a tip.

Many face-impressions of friends layer up and mean the realization: One's own behavior changes depending on the other person.

For the representation of this topic disturbances in the glass are particularly meaningful.

ZUCKERGUSS came into being after the difficult end of a 22-year friendship. I hadn't wanted to admit the strain for a long time. A facial impression of this friend lies broken under 'sugar icing'.

This plastic was made from a blue vase that Hannah had given me as a present.

MAREN is connected to the suicide of a friend's daughter of the same name. She often spoke of a wonderful blue light to which she felt drawn.

This work arose in a time of doubt about the meaningfulness of my group membership. In the meantime I have separated from the group.                   

TURANGALILA is the name of a symphony by Olivier Messiaen that deals with his unusual biography.

SCHMERZ (and also FATIGUE) is connected with rheumatoid arthritis, which does not let me go.

Pina Bausch was a wonderful dancer and the most important choreographer of her time.

Pina Bausch was a wonderful dancer and the most important choreographer of her time.

The pictures with the ruins of Aleppo remind me of my childhood. I played in the ruins left behind by the war.
The plaster band used (used to heal broken bones) refers to the principle of hope and renewal.


My work with oven-shaped glass
arise in a process of transformation. Destroyed things undergo renewal.
I find broken or useless glass at flea markets, in the garbage container of a glassworks or get it as a gift from friends.
What is special about my work is that I also place the aesthetic of glass at the side of its disturbances. 
Things are not unambiguous in their appearance, they behave polar to each other, and I want to express this ambiguity. Oven-shaped glass is ideal for this, because its morphological behavior during a firing process is bizarre and only partially calculable. It can jump, melt, become cloudy, form bubbles, discolour and deform, even if all rules are observed. So surprises are pre-pogammiert, the so-called coincidence is also in the game. Sometimes the learned rules are disregarded in order to consciously cause disturbances. If this is not the case, i.e. the glass appears in its wonderful brilliance (FLUCHT NACH VORN and PINA e.g.), other material (rusty iron) assumes the task of deviating from the unambiguous.
Anselm Kiefer sees a spiritual element in lead. My spiritual element is glass.

Now something completely different follows:



Very early
the ruins left behind by the war were adventurous playgrounds. As a child I dug there for non-ferrous metal, and the proceeds were often enough for two to three cream sweets.
But there was another story:
My mother - divorced, three small children and twice totally bombed out - a fate as many knew it after the Second World War - suggested to me one day, I was eight years old (see picture), to go together to the ruin of the tenement house, in which we had lived some years ago in a stately 5-room apartment in the Steglitzer Fregestrasse. So we climbed around in this ruin on the rubble mountains. Suddenly my mother bent down, held up a white shard with blue and golden stripes and said not bitterly, but joyfully excited: "This is from our guest service!!!".
In my work I would like to appreciate this attitude, that which is not complaining about what cannot be changed, but using the forces for what is new, by transforming broken things into cheerful flowers, i.e. lost things into something new.
In Anselm Kiefer's words: "Shards are the beginning of a rebirth."

Decades later
I walked in a small hilly park with a toboggan run at the southern edge of Berlin. Suddenly the colorful decoration of a small shard flashed in the sunlight. Where did it come from?

I understood that I was standing on one of over 20 mountains of rubble.


                                                   some are flat


                                                    some are high

What are mountains of rubble?

They are hills that have arisen from the ruins of the Second World War. The Berliners call them MONT KLAMOTT. There are more than twenty in this city, the largest of which is the Teufelsberg (Devil's Mountain) with a fill of about 120 metres. The ruin mountains are greened and designed as park and leisure facilities.



Is it at all still recognizable that the mountains consist of rubble? 
Yes, it is. If you want, you can find them, the silent witnesses of the past: every now and then the white splinters between forest leaves and dead branches light up. Rain, rooting wild boars and scratching birds bring them to the surface.

I have collected the shards for many years (not excavated).




Pick them up, 

these rarely found small shards of ruins and free them from the earth, one often discovers astonishing things: fragments of colored flowers, decorations, writings, manufacturer's marks and sometimes also shiny gold or hand-painted.


aus einstigem Haus- und Wohlstand


manchmal sprechend


oder Glasscherben, in brennenden Häusern geschmolzen

The shards are sorted and stored in plastic containers.


Finally I started with the first attempts. . . it wanted to be flowers . . .

 and again years later it came to layings in public.

Very important is not only the origin of the shards, but also:

The shards are loosely laid, i.e. not fixed. So every laying is unique and 'blossoms' every time new and every time different. They are rebirths, changes, renewals and represent the principles of chance and hope.

And once again Anselm Kiefer: "Rubble, like the blossom of a plant, is the shining climax of a constant metabolism, the beginning of a rebirth".


Everything happened in Berlin: birth, education, living and working.
1957-61 studied cartography
1970-2000 oil paintings, watercolors, collages, material paintings, etchings, photographs
since 1981 member of the Professional Association of Visual Artists Berlin (BBK)
1986-88 studies at the Hochschule der Künste Berlin, afterwards courses, seminars, private lessons
since 2004 change to the three-dimensional: Working with found objects and various materials, sculpting in stone, conceptual works, installations
since 2009 works with oven-shaped glass
since 2011 member of 'sculpture network'
2016 Recognition Prize PALM ART Award



2009 "verflixt und zusammengefügt", Woserin, Mecklenburg-Vorpommern (E)

2012 "Mein Blau", Kulturbrauerei, Bln.-Pankow

2012 "kunst-werk-raum", Kunstquartier Bethanien, Bln.-Kreuzberg

2012 zum "Tag des offenen Denkmals", Trümmerblumen-Legung, ehem. Abhörstation Teufelsberg Berlin

2012 "bac 1st", Löwesaal, Bln.-Moabit

2013 "Elemente-Gleichgewicht-Schwerkraft", Kunstgießerei Flierl, Bln.-Weißensee

2013 "Artgeschoss - Kunst in der City", ehem. Karstadt-Kaufhaus, Wolfenbüttel

2014 "small monuments", Schloss Hamburg-Bergedorf mit anschließenden Ausstellungen in den Galerien Mueller-Petzina, Lübeck und Mucha, Schwarzenbek

2014 "Fokus und Resonanz", Begegnung von 24 chinesischen und 5 deutschen BildhauerInnen, Berliner Freiheit, Bln.-Mitte
2014 "Internationale Glaskunstausstellung" Kulturzentrum Zwiesel, Niederbayern

2015 "positionen in glas und holz", mit Joachim Noack bei ART-consult, Bln.-Kreuzberg (E)

2015 "Caputh-Kunsttour", gemeinsam mit Bildern von Oda Schielicke im Gemeindehaus Caputh (E)

2015 "Spuren und Erinnerung", KunstRaumKo, Bln.-Tempelhof
2016 "Internationale Glaskunstausstellung" Kulturzentrum Zwiesel, Niederbayern

2017 "Trevisian International Art", Madrid

2018 "Internationale Glaskunstausstellung", Kulturzentrum Zwiesel, Niederbayern


Design, photographs of artworks and responsibility:

Sigrid Klammer
Sedanstraße 27
12167 Berlin
Phone: +4930-76 90 32 37

I look forward to your message.