Sibylle Schwarz (1960, Stuttgart). What most surprised me of her work, when I discovered it were her passion and poetic strokes, her attitude through her work, to feeling in its pure state, making us sharers of her way of being and feel in her position as women. Versatile and unwearying, has been living and inspired of other cultures, what it has done her work has made different influences. This has allowed to have a more eclectic and personal perspective.
As far as I can see, your work is very prolific, how do you developed your work and what time do you spend?
I developed my work since 40 years, my teachers came from different countries. Traveling opened my mind, taught by masters like Ghandi, Laotse, Mandela, Tagore, Rumi and others. The technic I learned on several schools, but anything else by doing, listening and loving.
With regard to technique, do you like to experiment? What is the technique that you prefer to work?
I am unlimited with technic, using ink, canvas, acryl, pastels, woodcarving, natural materials like water from spiritual places, essences, oil of roses, hibiscus, safran, green tea, minerals, curry and much more. I work until my eyes are to tired, every day.
The quick strokes, I would even say nervous, the use of color and the expression of intensity emotional states. Is it due to an influence of German Expressionism?
I am not aware of German Expressionism, but I heard this several times. Most people compare my work with Schiele, Boeys, Goya, Matisse and Picasso. But I guess no artist could grow without these teachers. The fast strokes and lines are a part of energy, personality.
In fact, your way of expression entail a graphical technique and pure, passionate and decisive. Does this represent a way of being?
Yes, passion is a important attitude, the depth of feeling and caring. Feel strong connected with people who did not have a easy start into life. My life is pure and simple. I try to support others, if I have the chance.
Your position as women is essential in your work? I wonder it has something do with the emotionally charged that is reflected in your work?
I think the sensuality is a important thing in my work. Its not about sex, but more about feminine, soften, open, transparent, honest, without attitude. I show beauty and less beautiful things, aging in grace. I have nothing emotional to hide and love the support of all the women in the world. There is a space in art, where we could feel very close, becoming sisters.
In a large portion of your work there are a sexiness that are perceived as feminine in the sense that it is very visceral, with an profound emotionally charged . However, in the history of art the sexiness has been touched from a male perspective. What are your views when you deal with works of this kind? Do you think that is different how to bring this because you are woman?
I think what I experienced so far, men are living often in a misunderstanding of sensuality and erotic, erotic, sometimes pornography, that’s why they behave more strict, moralistic and dogmatic. Not all, but, many quiet. I realize these fears are based on their fragility, they are afraid to feel and come emotionally close to themselves. I receive more private letters with beautiful gifts of tenderness and caring words, always full of respect of men. Then in public, women are most reacting with their open heart, more courage for showing themselves and more transparency with feelings, fears and desire.
Being an artist and woman, implies that is it easier to be visible if certain subjects are worked? For example about to condition of being woman by culture or the female sexiness. Or are there also space to address other approaches and make them visibles?
Being a artist means, you have a language, where you are able to talk without boundaries, especially in Europe. The music, for example is the strongest spiritual universal language. All messages are transported in a way we could listen with our heart.
And in general, is different the male and female in art discourse?
In general man and woman are not so different in their nature, only what the society did to them. There are many soft man, hard woman. I do not make a difference, I am loving the person not the sex and most of the people feel this with me.
Is it difficult being a woman artist or in recent decades have been real the opportunities for women in the art world?
Even in the artworld I do not care if I have it more difficult as a man. I do have it on so many levels much more easy, as a woman. I feel the solidarity with women. Men are often far away from these possibility and freedom.
But not only perceive your position as women, your work also seems to have inspiration in other cultures, such Asian or african influence. What influences have received in the progression of your professional career and how do you have developed in your work?
Yes asian and african influences are strong. I was living in Africa ( Benin), Japan, China, Indonesia, travelled through Pakistan, India, Russia and many more countries. I love other cultures, all my knowledge I received from there.
Finally, tell us you're doing today and if you have any future projects.
I’m working on a project for the Pfeiffer Institute, in NC. Prof Weihong Yan and Dr. Zhao leading a concept East meets West, where east and west know ledge and wisdom find in a special way together, a cultural art project, which start to travel through several museums. Beside, now I'm cooking a nice dinner for my son.
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
work: © Sibylle Schwarz / stylefeelfree
text: © Sibylle Schwarz / stylefeelfree
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