Installation view: Galleri Dvergur/Dwarf Gallery, Iceland 2005. Embroidery and works on paper.

Installation view: New York, 2003. Embroidery, quilt, and works on paper. '...although made from the perspective of a dead person remembering a failed life filled with nostalgia, fear and confusion, Anke's recent paintings, drawings and embroideries are remarkably humorous and lovely to look at. This implausibly cheerful miscellany of lighter-than-air arabesques defies gravitas and the deadly silence of an otherworldly vacuum...' - Peter Dudek

If you write a truth, write a real truth '...Anke Sievers' small paintings on paper had a strange voice to them. In brightly colored landscapes, fire, water, and stone are accompanied by texts like 'Gabriel the Archangel' imbuing the scenes with a religious tone that seemed oddly profound. I found them quite suggestive beyond their intimate scale and awkwardly handled surfaces...' Keane A. Pepper: The February Art Crawl, Free Williamsburg, Art Review, February 2004

Apparition in Worcester 2016

'....existing more as drawing than painting, Anke Sievers’s works on paper are less concerned with formal values than cryptic and ironic narratives. She works in acrylic in four feathery, elemental landscapes. The pictures evoke a self-conscious naiveté that frames the religious texts hovering above the natural "world." The centered compositions of the elements, fire, rock, air, and water are stubbornly present giving them a certainty that defies their scale and immateriality...' William Powhida

Installation view: 4:42, London 2017. 8 x woodcuts on Japanese paper.

'Six days of many' 2017

Weaving: worsted wool, acrylic yarn, feathers, plant matter. 145 x 70 x 1cm

...the piece is woven on a back strap loom, a weaving technique used in many parts of the world for thousands of years. It comprises six days of weaving - the white areas. These ‘days’ are divided by red horizontal lines. The days progress, just like the weaving process, from bottom to top. It was produced outside and reflects the nature around it, the change of day and night, seasonal changes, plants and animals among which it was made. Some of that nature is physically incorporated into the work. The weaving omits the seventh day, the day of rest. Change is permanent, time never stands still, and rest can only be found in accepting life and death equally.

Anke, 2018


The Garden of Gethsemane, 2018


....Jesus takes his three disciples with him to go pray/meditate after the last supper and before all those awful events to come. He takes these three guys with him to this quiet place, as moral support so to speak, but they just fall asleep. The one time when he needs their support, they nod off because they don't understand the seriousness of the situation. In paintings the three disciples always huddle together (Martin Schongauer: "Christus am Oelberg", for example). I put them far apart, because I think we are all alone and understand nothing. But I also wanted to depict nice plants. I had collected sketches of different simplified trees for a while, starting in Australia.

In Kafka's 'The Castle' the protagonist Mr. K. also falls asleep right when someone finally tells him all he was trying to find out. It's a great book, The Castle. A bit hard to get through, but really, truly great. I just meant maybe it is an archetypal motive - not paying attention when we encounter the chance to fix everything.

Also this weaving is my first that has a Selvedge, which I am very proud of...

from correspondence by Anke

In The Loom Room

22 October – 12 November 2018

Tate Modern, London


'Gain unique insight into Anni Albers’ practice by producing your own artwork

Taking place inside the exhibition and over four weekly sessions, participants will build their own backstrap loom to create a unique artwork. Drawing inspiration from Anni Albers’ innovative practice, participants will experiment with different techniques and materials, including plastic, pipe cleaner and other found objects as they discover more about the artist’s life and work.


This course is led by artist Anke Sievers and requires no prior knowledge. Materials to be provided however participants are welcome to bring additional items.'

'...Sievers seems to make pictures based on events that she has witnessed. Recently she has concentrated on making woodcuts and weavings to create imagery that often describe her interactions with and observations of nature and animals, particularly birds. Sometimes her forms become abstracted and almost stylised as they reflect the processes she works with: the repetition and grid innate within a weaving for instance allow for geometric forms to develop and evolve, but these simplified forms can become personal motifs and symbols that reappear in other works. In some overtly auto-biographical works Sievers incorporates text with image to describe often difficult personal interactions with people. It seems that Sievers is happiest with animals and nature, away from humans?'