Judith Sturm
1973 born in Saarlouis, Germany
1994 university-entrance diploma, Saarbrücken
1994 –
2002 HBK Saar (Art School), Diploma in Painting ,Germany
1995 Master Class, Professor Bodo Baumgarten
1995 working stay in Ireland
1998 Culture Prize, Deutsche Bank ,Germany
1999 Culture Prize, City of Saarlouis, Germany
2000 Individual Artist Grant, City of Saarbrücken, Germany
2005 Individual Artist Grant, Ministry for Education, Culture
and Science, Saarland, Germany
2005 Purchase, Collection of Saarland, Germany
2006 working stay in Tampa/Florida, USA
2007 Participation Culture Prize “Robert Schuman”, Treves,
Germany
2008 working stay in Tampa/Florida, USA
Exhibitions (selection)
2009 YA Art Institution, Hangzhou, China (Catalog)
Gallery 1918 artspace Shanghai, China
Museum Bydgosz, Poland (Catalog)
Gallery Palais am Festungsgraben, Berlin, Germany (Catalog)
2008 Gallery Primopiano („Dress Code“), Lecce, Italy
Gallery Bleu Acier („New Prints and Paperworks”), Tampa, Florida/ USA
Kunstverein Sulzbach, Germany (S)
Gallery artbalance, Hamburg, (S)
2007 Museum Ludwig Foundation, Saarlouis, Germany
Gallery Bleu Acier („New edition”), Tampa, Florida/USA
bridge Art Fair Miami 2007, Florida/USA
Museum Simeonstift (Prix D‘Art Robert Schuman), Treves (Catalog)
2006 Gallery N. Buck, Strasbourg/ France (S)
Gallery Bleu Acier, Tampa, Florida/USA (S)
Gallery Bleu Acier („Entre Chien et loup“), Tampa, Florida/USA
bridge Art Fair Miami 2006, Florida/USA
2004 Gallery 48, Saarbruck
2002 Gallery 48, Saarbruck (s)
Kunstverein Eisenturm, Mainz
2000 Museum St. Ingbert, (Catalog)
1999 Gallery Wasser- und Brotmaschine, Saarbruck (S)
1998 World Heritage Site VölklingerHütte („Malersommer in der alten Völklinger Hütte“), Völklingen, Germany (Catalog)
Gallery 48, Saarbruck (S)
1995 Kilmurry House, Thomastown/Irland
(Solo show =S)
Exposition (Sélection)
2009 YA Art Institution, Hangzhou, Chine (Catalogue)
Galerie 1918 artspace Shanghai, Chine
Museum Bydgosz, Pologne (Catalogue)
Galerie Palais am Festungsgraben, Berlin, Allemagne (Catalcgue)
2008 Galerie Primopiano („Dress Code“), Lecce, Italie
Galerie Bleu Acier („New Prints and Paperworks”), Tampa, Floride/ l’Etas-Unis
Kunstverein Sulzbach, Allemagne (EI)
Galerie artbalance, Hambourg, Allemagne(EI)
2007 Musée Haus Ludwig, Saarlouis, Allemagne
Galerie Bleu Acier („New edition”), Tampa, Floride/ Etas-Unis
bridge Art Fair Miami 2007, Floride/ Etas-Unis
Musée Simeonstift (Prix D‘Art Robert Schuman), Trèves, Allemagne
(Catologue))
2006 Galerie N. Buck, Strasbourg/ France (EI)
Galerie Bleu Acier, Tampa, Florida/USA (EI)
Galerie Bleu Acier („Entre Chien et loup“), Tampa, Floride/ Etas-Unis
bridge Art Fair Miami 2006, Floride/ Etas-Unis
2004 Galerie 48, Sarrebruck, Allemagne
2002 Galerie 48, Sarrebruck, Allemagne (EI)
Kunstverein Eisenturm, Mayence, Allemagne
2000 Musée St. Ingbert (Catalogue)
1999 Galerie Wasser- und Brotmaschine, Sarrebruck, Allemagne (EI)
1998 Patrimoine Culturel Mondial Völklinger Hütte („Malersommer in der alten Völklinger Hütte“), Völklingen, Allemagne (Catalogue)
Galerie 48, Sarrebruck, Allemagne (EI)
1995 Kilmurry House, Thomastown/ Irlande
Spatiality of colour and complexity - underneath the skin
My painting circulates around the matter of truth and reality, surface and depth. It questions those concerns as well on the thematic level by analysing the topic of femal beauteousness, the femal body – covering and veiling with clothes, posing and acting – and on the artistic level regarding the visual and compositional interest. On the artistic level this means layers of paint and translucent paint are working against each other and at the same time work together. This is emphasized by the use of monchrome areas of colour and at the same time the composition of kittenish patterns like polka dots or stripes.
Only through the deliberate examination of the compositional elements colour and form - though the paintings lack perspective and the figures are silhouetted and settled almost striking into the pictorial space – a complexity and spatiality of colour occurs.
I systematically pick apart a photo, cut it into pieces and details in front of my inward eye. Those pieces and parts are newly assembled on the canvas.
The vibrant and disturbed skin of the bodies is caused by applying and washing down again saline translucent paint. Salt and water - the primordial soup of all living being - functions as base of all my works. This working process supports the examination of the complexity of living, the ideal of beauty and its vanity.
The motif of vanity is evoked by the colour of the skin and interruptes the impression of those seemingly eternal-juvenile, pliable and well-proportioned bodies.
The painted skin polarises: predatory behaviour against bodily pain, pulsatory life against postmortem lividity – it depends on the eye of the observer what is seen more intense and is interpreted more precise.
An appearance seen at first glance is not the sole appearance of something, perhaps might not even be the matter of importance or the essence and not at all be the true.
Cyndi Lauper, one of the most dazzling pop icons of the 1980ties, questions this topic in her song “True colors” in a poetic and impressing way:
But I see your true colors shining through
I see your true colors and that's why I love you
so don't be afraid to let them show
your true colors, true colors
are beautiful like a rainbow*
Judith Sturm
* Excerpt from the song „True Colors“ by Cyndi Lauper
Lives and works in Saarbrücken, Germany
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