The paintings, whose innovative techniques push them toward sculpture, can read from a distance as landscapes—aerial views of forests, perhaps, or ice-covered parts of the Arctic—or as microscopic lifeforms. Yet we sense that for Siber, such resemblances to reality are incidental. As art historian Sabine Heilig has written of his work, “He is not interested in the aesthetics of the material itself, but rather in its ability to be transformed.” Along with its formal inventiveness, Siber’s work is remarkable for its use of color. With a palette ranging from muted earth tones to electric hues of pink and green, he seems to match form to color as if by instinct. The bent-and-folded steel pipe sculptures, covered in pristine coats of enamel, possess a luxurious shimmer, beckoning like jewels, while other works, coated in darker, powdery hues, are quiet and subdued—a spectrum recalling the powerful work of minimalist artists as varied as Robert Ryman, John McCracken, and Craig Kauffman.
Siber, born in Germany in 1949, earned his degree from the Stuttgart State Academy of Art and Design. An internationally exhibiting artist since 1990, Siber has shown his work at galleries, museums, and art fairs across Europe and the U.S. as well as in Seoul, Hong Kong, and Australia. Siber’s work can be found in public collections across the world, including the German Bundestag in Berlin, the German Embassy in Buenos Aires, Staatsgalerie Stuttgart, Städtisches Kunstmuseum Singen, as well as private museum Kunstwerk (Alison and Peter W. Klein Collection), Museum Ritter (Marli Hoppe-Ritter Collection) and more.