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 BA Honours Art, University of Guelph, Canada.

I have exhibited widely in Britain and featured in group exhibits in Holland, Taiwan, Germany, Ireland, Canada and USA. Upcoming, recent and noteworthy exhibitions include: Mind the Art Show, Art responding to Mental Health, The Art Academy, London SE1 2018; Royal Academy Summer Exhibition 2018, curated by Grayson Perry, Royal Academy, W1; Chelsea Flower Show 2018, 2 sculptures commissioned for VTB Spirit of Cornwall garden, (silver gilt medal winner); Testing 1<2, curated by John Bunker, ASC studios, Unit 3 London E3 2018; Teeth stronger than Diamond, The Courthouse Gallery, Ennnistymon, Co Clare Ireland 2018; Shoreham Sculpture Trail 2017, Shoreham, Kent; APT shots 2017Passionate Process, curated by Sheila Vollmer, APT Gallery SE8 (catalogue); Out of Office, exhibit of Program Managers Morley College Art & Design, Morley Gallery SE1 2017; Cass Sculpture Fdn, Maquette exhibition, Goodwood, West Sussex, 2016-17; FE2 16 – Five sculptors, Morley Gallery, London SE1 2016; Artist of the Day (solo show), Flowers Gallery central, London SE1 2015; Contemporary Assemblage + Construction, curated by Geoff Rigden, APT Gallery, London SE8 2015; Sculpture 2015, Coombe Trenchard Gardens, Devon UK 2015; Pulchri/APT exchange exhibit, The Hague, Netherlands 2014; 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.

Awards include the Pollock-Krasner Foundation Grant. Public & private collections include The Prudential plc London and Wolverhampton Art Gallery, Staffs.

I explore line, form and space constructing in various materials including wood, steel, rope, cast cement and some Perspex and glass; making, describing and being affected by space, referencing architecture, systems of nature, and the body/mind’s relationship to these.

Constructed angle iron opens and contains space; a channel for colour, surface and surprise views around the work. The skirting board works and rope installations also explore this systematic construction, architecture and inside/outside rhythm with an aim of exploring various moods. Added and found colour accentuates the inside/outside of the lines, forms and negative spaces adding rhythm and energy to the ever-changing views around the work.

The work is about the materials achieving, 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 2020
  "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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