Today we’d like to introduce you to Sibylle Pasche.
Hi Sibylle, can you start by introducing yourself? We’d love to learn more about how you got to where you are today?
I studied sculpture at the Academy of Fine Arts in Carrara, Italy, what brought me into contact with materiality and three-dimensional art. I began to work with stone and benefited from the proximity to the marble quarries, the countless storage areas with stones from all over the world, and the surrounding workshops, where I was introduced to the technical skills. Since my student days, in addition to my studio in Zurich/Switzerland, I have been running a workshop in Carrara, where all the necessary infrastructure for stone sculpture are at my disposal. This is where I realize my large-scale sculptures for public art projects, after having developed models at my own place. Once work is completed, my artworks are sent out from there into the world—such as the group of sculptures, which now stands on Giralda Avenue in Coral Gables. I’ve got the commission to create a site-specific artwork for the city of Coral Gables in collaboration with the streetscape architects, to enhance the newly designed section of the pedestrian road.
Would you say it’s been a smooth road, and if not what are some of the biggest challenges you’ve faced along the way?
An artistic career rarely runs smoothly. Art is a tough business, and a good network of relationships and the right contacts are more important than the quality of the art, which is ultimately always subject to subjective evaluation and cannot be measured by clearly definable standards. Who defines what is good and bad art? Which art has value for future generations and therefore belongs in a museum, and which is not relevant enough for that? In addition, the number of artists has probably increased fivefold in the last 20 years. So it’s very trendy to pursue an artistic career, because the chances of survival are much better today than in the past, thanks in part to the many subsidies that the art scene enjoys globally. It is more difficult for artists who operate outside the mainstream, whether intentionally or unintentionally. For them, the competition to defend their place in the art scene is very tough. But fortunately, there is always a way, especially in art, because it follows very unconventional and irrational rules. That is also very exciting. My recipe is to always remain true to myself with and through my work.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
I am definitely a three-dimensional artist, although I also draw and paint a lot. I feel at home with materials and 360-degree representation and enjoy shaping form and the interplay in space. I like to create volume by removing material, which slowly takes shape under my hands. I am therefore known for my large-scale sculptures for outdoor spaces, mostly made of white marble, which can be found in public spaces and private gardens. I think that working with stone is far less prevalent in contemporary art today than it used to be, although there are renewed advances in this direction thanks to famous artists such as Damien Hirst and Anthony Gormley, who are benefiting from the latest developments in robot technology, which enables them to outsource their own physical work. Today, a scan of a 3D model can be carved out of stone by machine. However, I am one of those ‘endangered species’ of sculptors who still work physically and carve the sculptures out of stone themselves. This has become something of a rarity today. This results in unique pieces that are entirely in keeping with the moment of creation and cannot be digitally generated or reproduced. Working with stone requires a lot of patience, perseverance, and physical strength. The logistics of moving, packing, or shipping my art is a big challenge and involves considerable financial expense. I think that deters many artists. It is much easier to work with canvases or lightweight plastic objects than with marble blocks weighing tons. So I am most proud of all my permanent large-scale sculpture installations in different places of the world.
Is there any advice you’d like to share with our readers who might just be starting out?
You have to choose this work consciously and follow your heart and your passion, rather than being driven by the urge to earn a lot of money and become famous. It’s a job that requires 200 percent commitment, especially at the beginning, and demands a lot of consistency, perseverance, and a willingness to take risks. You have to be prepared to endure uncertainty and survive tough setbacks. You have to put them behind you and come out stronger for the next round. Anyone who prefers security to freedom is not cut out for a life as an artist and should rather look for a job that offers a regular salary and consistent working conditions. But of course, you learn all that in the course of your career. You grow into it, and at some point, you start to experience more regular successes, which push and encourage you all the more.
Pricing:
- I cover the whole price range from my small-scale work to site-specific large-scale project, depending on size, weight, and complexity of the work.
Contact Info:
- Website: https://sibyllepasche.com
- Instagram: https://www.instagram.com/sibyllepasche
- Youtube: https://www.youtube.com/sibyllepasche
Image Credits
All the image credits are copyright by Atelier Sibylle Pasche
