Summer Afternoon / Vitsø / Ærø 7/6/2025 Oil on wood 50×50 cm

Sommernachmittag / Vitsø / Ærø is my favourite from the portfolio. This is, in my opinion, one of the strongest works. The thick impasto creates a convincing physical presence that almost becomes sculptural, especially in the sky where broad knife strokes echo the movement of clouds.
The colour palette is particularly successful. Cool blues and greys are interrupted by vibrant greens, creating visual rhythm and making the paintings feel luminous despite relying on relatively muted colours.
One of the strongest technical qualities is the variation in brush handling. Dense passages coexist with more fluid areas, allowing us, as viewers, to move naturally through the composition.
One technical aspect that could be pushed further is the hierarchy of edges. Because many passages receive a similar degree of attention, the eye occasionally hesitates between foreground details. Introducing a slightly greater range of lost-and-found edges could strengthen the sense of depth even further.

Scent of white lilies 12/7/2025 Oil on canvas 100×80 cm

“Ute Meyer’s painting practice is distinguished by its ability to transform direct observation into an intensely sensorial and immersive experience. In this work, the garden ceases to function as a simple motif and becomes a living field of perception, where colour, light and gesture intertwine to construct an atmosphere that feels both intimate and expansive.

What particularly interests me is the way Meyer balances representation and dissolution. Floral forms emerge and recede within a dense pictorial surface, allowing the eye to move continuously through the composition rather than settling on a single focal point. This creates a dynamic tension between presence and ephemerality, echoing the transient nature of the landscape itself.

The painting demonstrates a remarkable sensitivity to colour relationships, with vibrant passages of pinks, yellows, greens and whites generating a luminous rhythm across the canvas. Rather than describing nature with precision, Meyer captures its vitality, its movement and its constantly shifting character.

Within the context of her wider practice, this work reflects an ongoing exploration of the garden as a place of contemplation, memory and transformation. The result is a painting that invites slow looking, rewarding the viewer with new visual discoveries at every encounter and reaffirming the enduring capacity of painting to translate lived experience into a deeply poetic visual language.”

Ainhoa Fernández Director | Founder AF Art Advisory June 2026

Summer day I 18/7/2021 oil on canvas 90×70 cm

The strength of the portfolio is ” Sommertag I (Expressive, abstrahierte Gartenbilder / Ölmalerei, 8/13/21) ” for the following reasons:

– Balances realism with abstraction in a way that maintains the recognisability of the scene (clearly still a lush garden path)
– Palette is enticing and attractive, bright without going too far into the artificial
– Composition flows nicely due to a mix of colour passage sizes, contrast, brushstroke types… so the eye goes fully around form area to area
– Depth added by introducing the very dark areas of dark / broken forest green

Kelsey Zalimeni (Deputy COO at ALMINE RECH), 16.3. 2025

on 16.03.25 |

Hollyyhocks 18/7/2020 oil on canvas 100×80 cm

Stockrosen I is my favourite artwork in the selected portfolio because of its exceptional composition. In this painting, the flowers, leaves, and ground are well-balanced, highlighting Ute Meyer’s keen observation of nature. The branches behind the flowers are clearly outlined, which makes the blooms stand out even more by defining the background.

Rebecca Ashlock (Head of Sale of SINGULART) , 29.07.24

Yell Shetland 17/7/2014 oil on canvas 40×50 cm

Yell has become one of my favourite pictures, the change between sunlight and the shadows of the passing clouds is not only clearly visible and distinguishable due to the varying depths of green, but can almost be felt. The viewer is reminded of a day with the same clouds in the sky, feels the rapid change of the warming sunrays and the cooling air.

Dr Melanie Wilken, art historian, April 2015

Seaweed in the evening light 1/2013 oil on canvas 60×90 cm

Then again, Ute Meyer gets up close and personal, directly to the edge of the sea with all the stones, driftwood, seaweed and grasses in the wet sand. Here, Ute Meyer discovers shapes, colours and light effects that she later translates into macro studies in her studio, which are as representational, almost photographic, as they are abstract. Sometimes her subject matter only becomes recognisable from a distance. ‘Seaweed in the evening light’, for example, is a picture that repeatedly caught my eye while the exhibition was hanging.
Dr Thomas Overdick, 26 February 2013, Flensburg Maritime Museum

What others say about my art