Serene silence in the halls and noise from the basement - On a journey of discovery through Museum EICAS, by Jeroen Chabot, Museum & Galerie Krant, 2025

Sibylle Eimermacher shows that stones, minerals, and metals harbor dormant forces that can help us regain a balance we lost when we severed our connection with nature. She develops performances in which stone instruments produce sounds that can connect us with the universe. Nature still has so much to offer us, and she is unconditional in her ability to share her powers with us (...)

Rocks Remember: Mountain Tops to Moonscapes x A Guide Through Hue, written by Lewis Bush, published on C4 Journal, 2022

What Eimermacher and Gignoux's books seem to share, is the question of our ability to perceive and judge things beyond our very immediate temporal and geographic circumstances. We are a short-termist species, living brief and remote lives, and we often struggle to see beyond the horizons of our vantage point on the world. Perhaps if we were able to return to more of a pre-modern perspective, and once again see animals, plants and even inert rocks as things pulsating with life and movement, our readiness to destroy them in the pursuit of very fleeting advantage might not be so great. This ability to show us something beyond our horizons, and in doing so reimagine something we believe we understand, is perhaps one of the things that photographic works like these two books can do best. (read more)

Poses against Gravity, written by Mirjam Geelink about the exhibition Poses against Gravity at Studio Omstand in Arnhem, published on Mister Motley, 2017

Het was zo'n zondag waarop alles zwaar woog: de Leidsche wollen deken, de dichtgemetselde lucht, de stilte van de rustdag. Kortom een dag voor Poses against Gravity, een tentoonstelling die Sibylle Eimermacher maakte in de voormalige Turbinekamers van Studio Omstand te Arnhem met werken van Daniëlle van Ark, Anne Kolbe en haarzelf. Bij binnenkomst verwarmde een gloed van een uitgelichte roze cactus de stervenskoude ruimte. Cactus? De 'low-polyfacetten', een techniek uit de animatiewereld, op het roze beeld van Anne Kolbe konden net zo goed een bergkristal karakteriseren waardoor het beeld plotseling echode naar de gekantelde foto van zwart-witte bergen van Daniëlle van Ark en vice versa... (read more)

De agaatslijpers / The Agate Grinders, written by Miek Zwamborn, visually designed by Sam de Groot, accompanying the exhibition Fundort (In the human eye, the pupil is the aperture) at Probe, 2016

Geodes jump up beneath the hammer. The crust the blows must break through is hard. The blows don’t break. The grinding wheels turn, the agate grinders lie in pairs on their stomachs on tilting chairs. They push hard against the wetted abrasive wheel: one leg crossed over the other, their feet braced in the central aisle. Sometimes, one of the tilting chairs is unmanned. The torso is not prepared for this and neither is the agate. A body of stone, a body of flesh and a body of wood all strain together... (read in NL / EN)

Stone Foldings - Notes on the works of Sibylle Eimermacher and her practice of bewilderment, written by art historian Inger Marie Hahn Møller for the publication Stone Foldings, 2015

German artist Sibylle Eimermacher (b. 1979) works with a series of replacements – replacements of materials, of logic or defined truths, of art historical determinations, of what we perceive and think of as obvious and indisputable. These fundamental and very subtle replacements also function as a bewilderment – a slight but nagging confusion that is spread towards us as perceivers.

So what is it she does, that can actually be felt as a bewilderment and as a catalyst for new perspectives? At first sight it is not easy to grasp exactly what is embedded in the layers of Sibylle Eimermacher’s work – prints of surfaces of stones – but the confusion is exactly what is fruitful and productive. With the next glance, we see that these beautiful and diverse stone surfaces are not only – surfaces. Upon these pale, pastel-coloured, deep-greyish, rough or smooth, softened or multi-layered, but in all cases finite and impenetrable rocks, is an extra layer of folds. As if the heavy rocks had been folded like a thin piece of paper and then unfolded again... (read more)

Frenzy - Review by Jenny Wilson about the exhibition Frenzy at Nieuwe Vide in Haarlem, curated by Nathalie Hartjes. Published in the publication Mmm, MOHR MOHR MOHR by Frank Mohr Institute - Minerva Art Academy, Groningen, 2014

(...) Sibylle Eimermacher shows several sculptures: carefully constructed pedestals with geometric interventions; delicate spatial arrangements comprising MDF, crystals, a corner cut away; a corrugated cardboard structure balancing on hardboard with a lilac crystal as a counterweight. We are also met with black and white photographic works of isolated pieces of paper with a marble structure, folded in various ways and then laid out on top of a marble background before being photographed. These images are particularly striking in their structural nod to classicism. In the main, Eimermacher's works have a light, fragile quality about them; some even reveal signs of having been handled. They belong to a different space; one that seeks aesthetic contemplation exploring a delicate, post-modern purity. Solitary, serious and touching upon the sublime...(read more)

Interview by Jenny Wilson about the exhibition Frenzy at Nieuwe Vide in Haarlem, curated by Nathalie Hartjes. Published in the publication Mmm, MOHR MOHR MOHR by Frank Mohr Institute - Minerva Art Academy, Groningen, 2014

(...) SE: The works I show at Frenzy belong to a series of sculptural works entitled Compact Still Lifes, and ones that come forth from this series. They are loose compositions of geometrical shapes, partly naturally and partly artificially forced into this geometric appearance. The different elements are at the same time held together and divided by a kind of pedestal, which I intend to be integrated as part of the piece. These elements are not in a fixed position but subject to disturbances in balance, forces of gravity or irregularities of the floor, for example. This instability, for me, contributes to the awareness about the materiality and shape of the objects, its sensory aspects, the lightness or heaviness of the material. Somehow I feel attracted by the strictness and universality of geometry on the one hand and its playful and fragile aspects on the other... (read more)

Nabije vertes, text accompanying the exhibition Lifted at Air galerie in Lochem. Written by Sybrandt van Keulen, 2008

(...) Sibylle Eimermacher schildert wolken en tapijten met een dubbelzinnig effect. Ze is een wolkenschilder die lijkt op Wladimir uit het beroemde verhaal van Rilke. Gelegen op een oude versleten divan schildert hij in woorden ‘dingen in de verte’... (read more)