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

At the beach / flush seam 12/2009 Oil on canvas 80×100 cm

The work of Ute Meyer captures the bond between texture and atmosphere, a real strength in her portfolio. My favourite artwork, ‘Am Strand /Spülsaum’, highlights her exactness to detail, focusing on the foam that is at the coast, reminding one of the delicate nature of the seaside. The combination of low, natural colours with these gentle light and dark shadows helps to create a pleasant and yet restless picture that makes one think of nature and its soft but immutable power. The brushstrokes create the modules, bringing a 3D quality to the surface of the work. The artist makes use of those soft, adequate strokes to depict a palpable image. This method emphasises her proficiency without distracting the viewer from the core of the piece and bestows it with an aura of sombreness.

Lou-ann Albiol-Ducos (ALMINE RECH), 28.12. 2024

View over the water/ Ærø 3/2011 Oil on canvas 130 x90cm

At the end of one corridor, a ‘View of the Water’ captivates us. The painting was created this year on the Danish island of Ærø. Almost bare trees still obscure the view at the sea, which is further restricted by two hills. I feel a real pull from this picture – I want to go through the trees, through the narrowness to the vastness and infinity of the blue water, to the open, unobstructed horizon.

Dr. Sabine Behrens, art historian, May 20211

What others say about my art