Sheila Vollmer
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Canadian born, I am London based after post graduate studies in Sculpture at St. Martin's School of Art, London 1987 and a BA Honors Art, University of Guelph, Canada. My practice is based at www.aptstudios.org Deptford and I am Sculpture Program Manager at Morley College, Waterloo, London.

I have exhibited widely in Britain and featured in group exhibits in Ireland, Holland, Taiwan, Germany, Canada and USA. Solo exhibitions & commissions include: ‘Sine Line’, Public Sculpture Commission, Integral Powertrain Ltd., Milton Keynes, 2020; APT Portal Project solo gallery window exhibit, APT Gallery SE8 2021; Artist of the Day (solo show), Flowers Gallery Central, London SE1 2015; The Atrium Gallery, Cooper’s & Lybrand, London WC1

Upcoming, recent and noteworthy group and 2-person exhibitions include:

  • We Are Still Here – Four Women Making Abstract Sculpture’, ‘This stuff Matters’ exhibition and Artists Q&A, chaired by curator Meghan Goodeve, Freelands Artist Programme, APT Gallery, Deptford London SE8 (March 2023)
  • Two Singers, One Song, Jackie Askew paintings & Sheila Vollmer sculpture, Linden hall Studios Gallery, Deal Kent CT14 (2022 - date to be confirmed)
  • Winter Group show, Linden Hall Studios, Deal Kent CT14 2021-22, (catalogue)
  • This stuff Matters (4 women sculptors), Pop up exhibition/discussion with Meghan Goodeve, Yorkshire Arts Space, Sheffield S1 Oct 2021.
  • VJB Arts presents Sheila Vollmer and Lindsay Mapes, 2-person exhibit, 10 Gresham Street, London EC2, Sept 2020-21
  • Royal Society of Sculptors (RSS) Summer Exhibition
    ‘Gonna Get Craycray’
    selected by Sigrid Kirk,
    Dora House, RSS, London SW7, July-Sept 2021
  • BRITAIN 21 'Coming up for Air’,London Group’ organized Sculpture Exhibition part of Waterloo Festival ’21, St John’s Churchyard, London SE1 June 2021
  • 'Feeling for Murmuration', curated by Jillian Knipe and the exhibiting artists, Art House1 gallery, postponed and moved to APT Gallery 2020
  • Winter Group show, Linden Hall Studios, Deal Kent CT14 2019-20
  • 'This stuff matters', 4 women sculptors,
    https://www.stuff-matters.co.uk/ (Alex Harley, Gillian Brent, Jill Gibson & Sheila Vollmer) exhibit/recorded discussion, Unit 3, ASCs Studios, London 2020 + Morley Radio Podcast, (Women making Sculpture) 2021 https://morleyradio.co.uk/programmes/the-sculpture-podcast-ep4/
  • Burghley Sculpture Garden, Burghley House, Stamford, Lincs. (Catalogue)
  • Chelsea Flower Show 2018 - VTB Garden - Stuart Towner, 2 sculptures commissioned.
  • Royal Academy Summer exhibition 2018, selected by Grayson Parry, RA London.
  • Shoreham Sculpture Trail 2017, Shoreham, Kent.
  • Cass Sculpture Fdn, Maquette exhibition, Goodwood, West Sussex, 2016-17.
  • International Exhibition of Wood Sculpture, Wood Sculpture Museum Taiwan 2012.
  • London Bridge City Sculpture (2 sculptures on riverside walkway by Hay’s Galleria London) 2011-12.
  • 'Thinking Big: 21st Cent. British Sculpture', Guggenheim Collection, Venice, Italy, 2003.

Constructing in various materials including wood, steel, Perspex and rope, I explore line, form, space, rhythm and mood within a systematic process of making. The structure of the work, the nature of the material, the methods of making and gravity are interdependent. The work arrives at a necessity of construction through the making process by replicating and improvising with basic units of form. The element of surprise and mood is accentuated by colour as well as when the work touches the surface it rests on and responds to the space it is in with its inherent, ever-changing viewpoints.

This systematic construction is also explored within the skirting board works, both the singular wall forms and the installations to interior spaces, again aiming for an inside/outside rhythm, poetry and humor.

The installations in rope & dexion steel cube, are made to specific spaces playing with suspended line, geometry and light connecting interior and exterior.

My work is about the materials aiming to achieve rhythm, surprise, mood, and meaning within the forms and spaces they inhabit.


   
  Sheila Vollmer
APT Studios
6 Creekside
Deptford
London SE8 3EW
Tel: +44 020 8244 6873
sheilavollmer@gmail.com

Download CV >>

 
 
Other web sites featuring her work are:

https://www.aptstudios.org/sheila-vollmer
https://sculptors.org.uk/artists/sheila-vollmer

      Text ©Sheila Vollmer 2022
  Reviews    
  "It is her use of basic angle iron that marks Sheila Vollmer’s sculpture as being direct and open. She pushes the material to its limits through fundamental methodology, creating as wide a range of possibilities and solutions as she is able. .... the addition of colour either marks its construction, or alternatively acts as a renegade component. Her sculptures exhibit energy, movement, contradiction and fine balance."

Excerpts from
Steel - Sculpture in the Workplace at Canary Wharf
curated & written by Ann Elliott, 2006 for Canary Wharf Group

"When we observe one of Vollmer’s sculptures two qualities emerge as paramount: geometric complexity within a deceptive simplicity and what may be described as “interiorness”. The geometry proceeds not from a preconceived idea but as a natural consequence of the aesthetic of the forms that constitute it. It is not the geometry of Euclid. If we attempt to follow a line it comes upon an impasse or is subverted by another line that itself teases the eye into a linear cull de sac. Consequently we cannot visually segment the work into its parts but are constrained to perceive it as a totality. Each sculpture in its different way encompasses a hollow at its centre. Its effect is to soften the hard edges of the material and to lead us into its heart. We sense that we can pass beyond the unyielding angles, verticals and horizontals into a space that is created by form but is not formalist."

"Sheila Vollmer’s sculpture owes nothing to figuration or mimesis yet it invokes the natural world which surrounds us."

Excerpts from
Lionel Phillips: the Sculptures of Sheila Vollmer


"Canadian-born Sheila Vollmer’s work could be seen as lying in an interesting mid zone, somewhere between the environment-based spatial reveries of a Rachel Whiteread and the neo-modernism of early Tucker or Willard Boepple...colour is descriptive but generally clean...the scale is precise, there is a high degree of articulation within the whole, the concern is to create an experience that is sure and special. Vollmer is particularlyinterested in this process of development, how a sculpture achieves a necessity of form by replicating and improvising on basic units of form, the non-contradiction of achieving an organic wholeness in a systematic way. The great achievement of her work is the frequency with which she achieves that sense of completeness and right-ness whilst also giving the feeling that the form has been caught at a point of arrest;..."

Excerpts from
A Various Art by John Cornall
– for the exhibition Influx by forms in flux 1997
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