Johannes von Stumm

Johannes von Stumm’s unique combination of three different materials has attracted public and critical acclaim in a decade of successful exhibitions, both in the UK and abroad. His startlingly original sculpture, which engages continually with risk and a defiance of accepted laws, joins iron, granite and glass to create abstract or reduced figurative works in which apparently conflicting materials exist in complex harmony. Von Stumm’s choice of media and instinct for experimentation is deeply rooted in his background, in a childhood and adolescence spent at the foot of the Alps with long winters, ice and rocks. His love of steel, in particular, is intertwined with his family history. Ancestors on his father’s side were blacksmiths and steel factory owners for 250 years. As a young man he painted on cardboard in the cellar of his parents’ house, mixing broken glass and metal objects into the paint.

At 18, during a visit to Paris, von Stumm was deeply moved by the power and beauty which he saw in Rodin’s sculpture. He immediately began to work figuratively with clay and plaster, first at home and then at the Academy of Fine Arts in Munich. Six months spent in a quiet Italian village strengthened his desire to test the potential of glass, stone and steel combinations..

On returning to the Academy, he asked for help, only to be told that the alliance of these very different materials was impossible. The challenge was irresistible. After three years of breaking glass, he finally developed a way of joining these opposing forces in an inseparable unity. A form in which inter-dependent pieces hold each other upright and are often linked as a carpenter would join two pieces of wood. Such a breakthrough has proved rich in possibilities. In fifteen years of combining metal with glass and stone, Von Stumm has expanded the boundaries of expression. He's done this by fusing the strong and the fragile, the solid and the liquid, the dark and the transparent.

The most recent development of his work is his Immaterial Figures.  Here, in place of glass,  he uses negative space to create the imagery,  exploring archetypes such as the Buddha figure in Contemplation,  or the open arms of his Welcome figure.  In between these two quite distinct bodies of work sits his elegant sculpture, Grace,  whose simplified form suggests the ancient Goddesses.

Being and Nothingness
Being and Nothingness

Stone, Glass and Bronze 56x16x21cm £3,800

Water and Rock
Water and Rock

Granite and Glass 30x30x9cm £4,700

One, Bright yellow, Purple
One, Bright yellow, Purple

Glass 30x30x12cm £2,400

Holding Hands
Holding Hands

Bronze 240x240x120cm £58,000 Also available in smaller domestic size.

Couple in Conversation
Couple in Conversation

Stainless Steel 480x320x120cm £62,000 Also available in smaller domestic sizes

Contemplation
Contemplation

Bronze 108x72x53cm £32,000

Big Interlacing
Big Interlacing

Stone, Glass and Bronze 170x52x12cm £9,000

Grace
Grace

Stone Glass and Bronze 190x20x20cm £14,000

My Absent Friend
My Absent Friend

Bronze 74x77x36cm £12,000

Big Cross
Big Cross

Bronze, Glass, Stone and Stainless Steel 180x50x50cm £12,000

Big Cross
Big Cross

Bronze, Glass, Stone and Stainless Steel 180x50x50cm £12,000

Arches II
Arches II

Bronze, Glass, Stainless Steel and Stone 65x72x50cm £25,000

Light and Dark
Light and Dark

Stainless Steel 205x110x110cm £24,000

Welcome Figure
Welcome Figure

Bronze 286x140x175 £48,000

1/1