ART AND THE CITY
Sylvia Schramm calls her crest image “Stormdrain.” Hamburg is the center of abundant world history – fully in the spirit of her husband’s grandfather, the historian Percy Ernst Schramm, whose proud book “Hamburg, Deutschland und die Welt” returned the citizens’ much needed pride in the post-war years to encourage the repairs of their damaged city. I personally was lucky enough to have attended Schramm’s lecture about Hamburg’s history at the University of Göttingen in 1960. The professor wore a white, sailor-style button-down with a black bow tie. A little flag with Hamburg’s crest was always found on his lectern.
Her trade mark is digital painting on aluminum and metal.
Whoever decides to look at her illuminated, colorful, and appealing artworks knows what Hamburg is like. The viewer can feel the atmosphere of the city and gains insight into the typical hanseatic interplay of commerce, culture, media, politics, and a relation-network that permeates every aspect of social life. Landscape, architecture, the harbor, Elbe and Alster, and the big five towers, in the background, are what make Hamburg a cosmopolitan piece of art. The large formats of her artworks are extraordinary. She invented her own mixed-media technique. She first “draws,” assembles, and turns her works into collages on the screen. Through many complex printing procedures, she gets her art onto metal or aluminum sheets, that are later framed in iron.
Whoever looks closely at Sylvia Schramm’s images might be lucky enough to see their own reflection on the metallically illuminated background. That’s how hidden faces are created on the panorama of the Free and Hanseatic City of Hamburg, in which the viewer of the artwork himself is incorporated into the art.
Dr. Peter Schütt / Speech at the exhibition in the PASHMIN ART GALLERY, Hamburg, 2016