Fotos: © philipphobucher.de
Sandra Kolondam, born 1979 in Munich, lives and works together with her husband Klaus Soppe, who is also a painter, in Berg am Starnberger See.
Kolondam studied painting with Rosa Loy and Prof. Markus Lüpertz and is present with various exhibitions at home and abroad as well as a member of the "Münchner Künstlerhaus Verein" at Lenbachplatz in Munich.
The main focus of her work is painting, drawing and graphic art. She mainly works with oil paints. In addition to painting, Kolondam also produces woodcuts and linocuts in its own printing workshop.
Copyright Foto Sabine Schreiber, www.sabineschreiber.com
Born in Munich
2011 - 2012
Private student of Klaus Soppe, master student of Robin Page Akademie der
Fine Arts Munich
2014 - 2016
Pupil of Prof. Markus Lüpertz, graduate of the Diploma Adbk course at the old spinning mill Kolbermoor
2015 - 2016
Pupil of Rosa Loy, graduate of the course of studies/master class at the Bad Reichenhall Art Academy
Member of the Paul Klinger Künstlersozialwerk e.V.
Member of the "Münchner Künstlerhaus Verein" at Lenbachplatz in Munich, Germany
about the work.
Dr. Bettina Krogemann, art expert and author
on painting by Sandra Kolondam
Exaggerated reality: on the trail of the essence of things
Realism and also hyperrealism are terms that art historians associate with Sandra Kolondam's painting. For what do we see prima vista in her paintings? It is always objects or real things. Sometimes they are captured in the long shot, sometimes in a detail that is chosen in such a way that we only realise on closer inspection that the chosen perspective makes the unfamiliar, the easily overlooked visible to us. Our gaze is also drawn to representational objects and fabrics that are painted with great precision and detail, so that they ultimately appear mysterious. Then objects and bodies that we know from daily observation are combined in Kolondam's painting in such a way that we as viewers end up standing before small parallel universes, unfamiliar worlds.
The interplay of these traditional and modern facets of reality-based painting is typical of the art of the early 21st century. As early as 2004, the Schirn in Frankfurt dedicated an extensive fundamental exhibition entitled "Desired Worlds" precisely to this new painterly tendency. In its subtitle, the show was called "The New Romanticism in Art." So-called neo-romanticism, now an established term in the history of young painting, is also one of the pillars on which Sandra Kolondam's art is based, along with realism and hyperrealism. As viewers, we can always read something familiar into the paintings, because their elements are usually taken from real life. Sometimes Sandra Kolondam has actually been face to face with the pictorial situations she depicts. That can be, but does not have to be. There are also entirely fictitious compositions that are more in keeping with the artist's world of ideas.
What is this? A kind of continuation of realism but with other means, with those that exaggerate reality. This type of painting is close to photorealism, but is not as charming as the latter; it definitely has an ironic and existentialist undertone. Its most important characteristic is the attention to detail with which things of everyday life are depicted. For example, there is the picture-filling, large bouquet of balloons from the Oktoberfest in Munich, which Kolondam staged like a trompe l'oeil painting and entitled "Make my Day". The painting shows a section of the enormously vividly painted souvenir, the central part of the picture almost moving towards the viewer, pushing forward, the composition flattening out towards the background. The balloons shine, they gleam in splendid colours and thus become precious jewels, although they are only made of plastic or rubber. And the bouquet of balloons appears monumental, it fills the picture plane, or better, since it is reproduced in a cut-out, it does not actually fit into the picture plane at all. This gives it an overly grand effect, the balloon bouquet from the Munich Oktoberfest.
The pictorial value of the everyday
Where does Sandra Kolondam find her motifs, which she puts in oil on medium-sized or large-format canvases? In her life, her surroundings, on a walk, on a journey, at a market. There is a forest clearing, for example. The silhouettes of the trees stand as if shadowed in the sunlight, their darkness set against the light part like a drop-light shadow painting from the time of the veristic baroque - chiaroscuro is what art history calls this dramatic principle of composition. The fact that it is a clearing in the forest is only revealed on closer inspection, for the strongly cropped perspective reduces what is depicted to a kind of abstraction, were it not for a few details in the foreground that make the non-figurative figurative again - a small conundrum with reality that can be found again and again like a leitmotif in Kolondam's works.
What do treetops look like when you stand below them, the sun is almost at its zenith and you look up? In Kolondam's work, from this perspective, tree tops are transformed into a space broken up in colour and light, reminiscent of the plein air painting of the French Impressionists. These are the treetops in the artist's field of vision.
Sandra Kolondam likes to play with our ingrained visual habits. How does she do it? She creates polyperspectives on a picture that create lively situations between background and foreground. She mixes scales in her pictorial worlds that take away the real again, giving the representational and the figurative a different essence. Both thus become fictional and emphasise the artificial character of the painting.
An important means of achieving such effects are the properties and effects of colours and a precise, knowing or intuitive use of them. All these design principles can be seen in Kolondam's triptych "Happiness". As the title suggests, it is a cheerful picture. A young girl goes hunting with a butterfly net to capture what we know is always ephemeral "happiness". Her body is bright blue, as are the large palm trees that form the vegetative backdrop. This blue is the background colour, all other colours lie on top and create pictorial depth or proximity towards the viewer. At the very surface of the painting, lively reddish goldfish cavort. With this design, the viewer is taken on a journey through different painting levels. Will the young huntress catch happiness with her net? The question remains open.
Many of Kolondam's paintings thus play with the pictorial horizon, the view of things, the perspective. Up becomes down, big becomes small and small becomes big, the perceiving eye is led through an interplay from front to back or back again. There is much to discover, almost like in tricky trompe-l'œil painting with its fantasy landscapes and very similar playful perspectives from times past.
Sandra Kolondam paints in oil on canvas, one of the traditional and very time-consuming painting techniques. As a rule, she does not lay out the colours of a composition beforehand, but rather creates them during the painting process by means of the actual effects of the colours and the light. She applies layers of paint finely, almost glazing them, then overpainting can follow, creating the depths of the picture. Complex, multi-figured compositions are first created in the mind and sometimes en miniature, like a cardboard as a model, to be then developed directly on the picture support. The real, the hyperreal and the parallel worlds then emerge during the actual painting.
2020, Germany, Essen, C.A.R. Contemporary Art Ruhr, Galerievertretung Galerie an der Zitadelle.
2020, Germany, Munich, Juried Members' Exhibition of the Paul Klinger Künstlersozialwerk, Bavarian Ministry of State
2020, Germany Jülich, Joint exhibition with Klaus Soppe, Galerie an der Zitadelle
2019, Germany, Hamburg, Affordable Art Fair, Galerie an der Zitadelle
2019, Germany, Essen, C.A.R. Contemporary Art Ruhr, Gallery at the Citadel
2019, Germany, Munich, Artmuc, Gallery at the Citadel
2019, Germany, Berlin, joint exhibition "Augenwerk mit Klaus Soppe, Galerie Artinnovation
2019, Germany, Heilbronn, joint exhibition with Klaus Soppe at the educational campus of the Dieter Schwarz Foundation
2019, Italy, Rome, joint exhibition Galeria Arte Borgo
2019, Germany, Cologne, Discovery art fair cologne
2019, Austria, Innsbruck, Art Innsbruck
2018, Germany, Wolfratshausen, solo exhibition Amtsgericht
2018, Germany, Bernried, Bernrieder art exhibition
2018, Germany, Bernried, collective exhibition Kontraste
2017, Germany, Munich, Solo exhibition "Landscape and Poetic Worlds "at the Munich Künstlerhaus at Lenbachplatz, Munich
2016, Germany, Berlin, Berliner Liste
2016, Austria, Vienna, collective exhibition Stilgalerie
2016, USA, NYC Manhattan Soho, collective exhibition Artspace Gallery
2016, China, Beijing, Art Beijing
2016, Austria, Innsbruck, Art Innsbruck
2019 October, Design of drawing for bronze plaque in honour of cabaret artist and winner of the "German Cabaret Prize 2015" Josef Brustmann, in front of the Loisachhalle of the town of Wolfratshausen.
2018 March, design, planning and implementation of the object "Talents meets Professionals" for the opening of Solutions Talents & Professionals Management GmbH, Munich. Contributors to the object included: Roland Grahammer, Udo Bassemir, Angelo Vaccaro, Jamie Lawrence, Melodie Bohny, Sabine Linda Fischer, Elias Kollmann, Thomas Darchinger, Philip Grahammer, Julian Benedikt, Fredi Binder
2016 October, design of bronze plaque, in front of the Loisachhalle Wolfratshausen, in honour of the Wolfratshausen Children's Choir and its choirmaster Yoshihisa Kinoshita.
2016 April, commissioned painting for the town of Wolfratshausen, title "We are Wolfratshausen".
2020, August, title page of the Jülicher Zeitung am Sonntag, issue 16. August 2020
2020, August, Jülicher Nachrichten, "Sometimes hyperreal, sometimes in earthy colours".
2020, August, Jülicher Nachrichten, "Two artists one common love"
2020, August, Aachener-Zeitung.de, "Two artists, one love"
2020, August, Herzogmagazin.de, "Galerie an der Zitadelle: two artists, one love"
2020, June, "Unser Tegernsee Magazin", No. 13, Graf Media Verlag & Kommunikation", page 124 - 130
2020, 22 May, page 3, "Bayerische Staatszeitung and Bayerischer Staatsanzeiger"
2020, 22 May, Münchner Merkur, Isar-Loisachbote
2020, May, Oberland.de
2019, September, WELTKUNST, Exhibition announcement "Augenwerk", Berlin
2019, September, Süddeutsche Zeitung, Sunday 22 September 2019
2019, May, Isar-Loisach Bote, Münchner Merkur, Friday 24 May 2019
2019, May, Starnberger Merkur, Münchner Merkur, Saturday 18 May 2019
2019, April, Heilbronner Stimme, Saturday 20 April 2019
2018, October, Süddeutsche Zeitung, issue no. 249, 29.10.2018
2018, February, Munich South, "An expedition through art"
2018, January, Bayerischer Rundfunk from minute 5.25.
2017, November, trade publication cosmetic dentistry 4/2017, art section
2017, October Münchner Merkur, Isar Loisachbote, No. 228
2017, September, WELTKUNST, exhibition announcement solo exhibition at Münchner Künstlerhaus
2017, June -December, green, The magazine of the Bavarian Golf Association, issue 02/2017
2016, July Münchner Merkur, Isar Loisachbote, anniversary edition 8 July 2016
2016, July, Süddeutsche Zeitung, edition 4 July 2016
2016, May, Münchner Merkur, Isar Loisachbote, issue 21/22 May 2016
2015, September, Professional publication cosmetic dentistry, category art
2015, June, Starnberger Seeleben, People of the Lake Region
2015, March, Heimat verbunden, Art & Culture
2013, September, Münchner Merkur, Culture
2013, July, Münchner Merkur, Special supplement
Andreas Demmel GmbH
E.Böhm trading company
Münchener Verein Insurance Group
Rollo Solar MELICHAR GmbH
Solutions Talents & Professionals GmbH
Pension office Deichl
Advertising association Einkaufsstadt Wolfratshausen e.V.
World of Wine