Sheila Vollmer
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Canadian born, I am London based since 1987 after post graduate studies in Sculpture at St. Martin's School of Art, London and a BA Honors Art, University of Guelph, Canada. My practice is based at 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. Upcoming, recent and noteworthy exhibitions include:
BRITAIN 21 Coming up for Air,London Group’ organized Sculpture Exhibition as part of Waterloo Festival ’21, St John’s Churchyard, London SE1 June 2021; VJB Arts presents Sheila Vollmer and Lindsay Mapes, 10 Gresham Street, London EC2 2020-21; Sine Line, Public Sculpture Commission, Integral Powertrain Ltd, Milton Keynes; Feeling for Murmuration, Art House1 gallery, postponed and moved to APT Gallery 2020; Winter Group show, Linden Hall Studios, Deal Kent CT14; This stuff matters, 4 women RBS sculptors, exhibit/recorded discussion, Unit 3, ASCs Studios, London 2020; Burghley Sculpture Garden, Burghley House, Stamford, Lincs. (catalogue); Chelsea Flower Show 2018 - VTB Garden, sculptures for a garden collaboration; Royal Academy Summer exhibition 2018, RA London; Shoreham Sculpture Trail 2017, Shoreham, Kent; Cass Sculpture Fdn, Maquette exhibition, Goodwood, West Sussex, 2016-17; Artist of the Day (solo show), Flowers Gallery central, London SE1 2015; International Exhibition of Wood Sculpture’, Wood Sculpture Museum Taiwan 2012; Royal Academy Summer Exhibition 2012, RA, London; 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.

I explore line, form and space most often in steel and wood; referencing architecture, natural systems, and the body’s relationship to these. Constructing with steel linear flats and angles in a modular rhythm of replicated and changing units creates a channel both opening and containing space. Added and found colour and surface accentuate the inside/outside of the lines, forms and negative spaces adding rhythm and energy to the ever-changing views.

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
London SE8 3EW
Tel: +44 020 8244 6873

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  Other web sites featuring her work are:

      Text ©Sheila Vollmer 2021
  "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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