• Born in Munich in 1979
  • 2011 - 2012 Private student of Klaus Soppe , master student of Robin Page Academy of Fine Arts Munich
  • 2014 - 2016 Student of Prof. Markus Lüpertz, graduate of the Diplom Adbk course at the old Kolbermoor spinning mill
  • 2016 student of Rosa Loy / master class at the Bad Reichenhall Art Academy
  • 2015 Member of the Paul Klinger Artists' Social Work Association
  • 2016 Member of the “Münchner Künstlerhaus Verein” at Lenbachplatz in Munich, Germany
  • 2022, Germany, Cologne, discovery art fair
  • 2022, Germany, Munich, solo exhibition in the GalerieKanzlei in the museum district of Munich
  • 2021, Germany, Hamburg, INCorporating Art Fair Hamburg, gallery representation Galerie an der Citadelle
  • 2021, Germany, Essen, CAR Contemporary Art Ruhr, gallery representation at the Citadel
  • 2020, Germany, Essen, CAR Contemporary Art Ruhr, gallery representation Galerie an der Citadelle
  • 2020​, Germany, Munich, juried member exhibition of the Paul Klinger Artists' Social Work, Bavarian State Ministry
  • 2020, Germany Jülich, joint exhibition with Klaus Soppe, Gallery at the Citadel ​
  • 2019, Germany, Hamburg, Affordable Art Fair, Galerie an der Zitadelle​2019, Germany, Essen, CAR Contemporary Art Ruhr, Galerie an der Zitadelle
  • ​2019, Germany, Munich, Artmuc, Gallery at the Citadel ​
  • 2019, Germany, Berlin, joint exhibition "Augenwerk with Klaus Soppe, Gallery Artinnovation
  • ​2019, Germany, Heilbronn, joint exhibition with Klaus Soppe at the educational campus of the Dieter Schwarz Foundation​
  • 2019, Italy, Rome, collective exhibition Galeria Arte Borgo​
  • 2019, Germany, Cologne, Discovery art fair Cologne​
  • 2019, Austria, Innsbruck, Art Innsbruck​
  • 2018, Germany, Wolfratshausen, solo exhibition at the district court
  • 2018, Germany, Bernried, Bernried art exhibition
  • 2018, Germany, Bernried, collective exhibition Contrasts
  • 2017, Germany, Munich, solo exhibition "Landscape and poetic worlds" in the Munich Künstlerhaus at Lenbachplatz, Munich
  • 2016, Germany, Berlin, Berlin List
  • 2016, Austria, Vienna, joint exhibition Stilgalerie
  • 2016, USA, NYC Manhattan Soho, joint exhibition Artspace Gallery
  • 2016, China, Beijing, Art Beijing
  • 2016, Austria, Innsbruck, Art Innsbruck


​​Public contracts ​​​​​​

  • 2019 October, design of the drawing for the bronze plaque in honor of cabaret artist and winner of the “German Cabaret Prize 2015” Josef Brustmann, in front of the Loisachhalle in the city of Wolfratshausen​​
  • 2018 March, design, planning and implementation of the object "Talents meets Professionals" for the opening of Solutions Talents & Professionals Management GmbH, Munich. Those who worked on the object included: Roland Grahammer, Udo Bassemir, Angelo Vaccaro, Jamie Lawrence, Melodie Bohny, Sabine Linda Fischer, Elias Kollmann, Thomas Darchinger, Philip Grahammer, Julian Benedikt, Fredi Binder​
  • 2016 October, design of a bronze plaque in front of the Loisachhalle Wolfratshausen, in honor of the Wolfratshausen children's choir and its choir director Yoshihisa Kinoshita
  • 2016 April, commissioned painting for the city of Wolfratshausen, title "We are Wolfratshausen"
Commissioned paintings for companies
  • ​Munich Association Insurance Group
  • Planero GmbH
  • Lübmedia GmbH
  • Magic Brush GmbH
  • Talents & Pros by Solutions
  • Gallery shop Siebenmachen​

Publications, mentions

  • 2021, August, Süddeutsche Zeitung from August 8th, 2021, exhibition JOUR FIX >>
  • 2021, August, Munich Merkur from August 1st, 2021, exhibition JOUR FIX
  • 2020, August, cover page of the Jülich newspaper on Sunday, issue August 16, 2020
  • 2020, August, Jülich News, "Sometimes hyperreal, sometimes in earthy colors"
  • 2020, August, Jülich News, "Two artists share a common love"
  • 2020, August,, "Two artists, one love"
  • 2020, August,, "Gallery at the Citadel: two artists, one love"
  • 2020, June, "Our Tegernsee Magazine", No. 13, Graf Media Verlag & Kommunikation"
  • 2020, May 22, page 3, "Bayerische Staatszeitung and Bayerischer Staatsanzeiger"
  • ​2020, May 22nd, Munich Merkur, Isar-Loisachbote​
  • 2020, May,
  • 2019, September, WELTKUNST, exhibition announcement “Augenwerk”, Berlin
  • ​2019, September, Süddeutsche Zeitung, Sunday September 22, 2019
  • ​2019, May, Isar-Loisach Bote, Münchner Merkur, Friday May 24, 2019​
  • 2019, May, Starnberger Merkur, Munich Merkur, Saturday May 18, 2019
  • 2019, April, Heilbronner Stimme, Saturday April 20, 2019
  • 2018, October, Süddeutsche Zeitung, issue no. 249, October 29, 2018
  • ​2018, February, Munich South, "An Expedition through Art" ​
  • 2018, January, Bayerischer Rundfunk from minute 5.25, 2017, November, specialist publication cosmetic dentistry 4/2017, art section
  • 2017, October Münchner Merkur, Isar Loisachbote, No. 228
  • 2017, September, WELTKUNST, exhibition announcement solo exhibition in the Munich Künstlerhaus
  • 2017, June -December, green, The magazine of the Bavarian Golf Association, issue 02/2017
  • 2016, July Münchner Merkur, Isar Loisachbote, anniversary issue July 8, 2016​2016, July, Süddeutsche Zeitung, issue July 4, 2016​
  • 2016, May, Münchner Merkur, Isar Loisachbote, issue 21/22. May 2016
  • 2015, September, specialist publication dentist cosmeticry, category art
  • ​2015 June, Starnberg lake life, people of the lake region
  • ​2015, March, Home Connected, Art & Culture
  • ​2013, September, Munich Merkur, Culture ​
  • 2013, July, Munich Merkur, special supplement

Dr. Bettina Krogemann, art expert and author on Sandra Kolondam's paintings from 2017 in connection with the solo exhibition in the Munich Künstlerhaus at Lenbachplatz.

Exaggerated reality: On the trail of the essence of things

Realism and hyperrealism are terms that art historians associate with the paintings of Sandra Kolondam. Because what do we see prima vista in her paintings? They are always objects or real things. Sometimes they are captured in a long shot, sometimes in a section that is chosen in such a way that we only realize when we look closely that the chosen perspective makes something unusual and easily overlooked visible to us. Our gaze is also drawn to representational objects and materials that are painted very precisely and with great detail, so that they ultimately appear mysterious. Then objects and bodies that we know from everyday viewing are combined with each other in Kolondam's painting in such a way that we as viewers end up standing in front of small parallel universes, unfamiliar worlds.

The interplay of these traditional and modern facets of real-life painting is typical of the art of the early 21st century. Back in 2004, the Frankfurt Schirn dedicated an extensive, fundamental exhibition entitled “Wish Worlds” to precisely this new painterly trend. The subtitle of the show was called “The New Romanticism in Art.” The so-called neo-romanticism, now an established term in the history of young painting, is, along with realism and hyperrealism, one of the pillars on which the art of Sandra Kolondam based. As viewers, we can always read something familiar from the pictures, because their elements are usually taken from real life. Sometimes Sandra Kolondam actually faced the pictorial situations she depicted. That can be the case, but it doesn't have to be. There are also completely fictional compositions that are more closely tied to the artist's world of ideas.


​What is that? A kind of continuation of realism but with different means, with ones that exaggerate reality. This type of painting is close to photorealism, but is not as charming as photorealism, but rather has an ironic and existentialist undertone. Its most important characteristic is the level of detail with which everyday things are depicted. There is, for example, the picture-filling, large bouquet of balloons from the Oktoberfest in Munich, which Kolondam staged like a trompe l'oeil painting and titled “Make my Day”. The painting shows a section of the enormously sculpturally painted souvenir, the central part of the picture moves almost towards the viewer, pushes forward, and the composition flattens towards the background. The balloons shine, they shine in magnificent colors and become precious jewels, even though they are only made of plastic or rubber. And the bouquet of balloons appears monumental, it fills the picture area or better, since it is shown in detail, it actually no longer fits into the picture area. This gives it an exceptionally grand effect, the balloon bouquet from the Munich Oktoberfest.​

​Imageworthiness of the everyday

Where does Sandra Kolondam find her motifs, which she puts in oil on medium or large format canvases? In their lives, their surroundings, on a walk, on a trip, at a market. For example, there is a forest clearing. The silhouettes of the trees stand as if shadowed in the sunlight, their darkness is set against the bright part like a highlight shadow painting from the Veristic Baroque period - art history calls this dramatic compositional principle chiaroscuro. The fact that it is a forest clearing only becomes apparent upon careful inspection, because the heavily cut-out perspective from below reduces what is depicted to a kind of abstraction, if it weren't for the fact that some details in the foreground can be seen that make the non-representational become objective again - a small one Puzzle with reality, which can be found again and again as a leitmotif in Kolondam's work.

What do treetops look like when you stand below them, the sun is almost at the zenith and you look up? At Kolondam, from this perspective, treetops transform into a space broken up in color and light, reminiscent of the plein air paintings of the French Impressionists. These are the treetops in the artist's field of vision.

​Parallel universes

Sandra Kolondam likes to play with our established viewing habits. How does she manage this? She creates poly perspectives on an image that create lively situations between background and foreground. She mixes scales in her image worlds, which take away the real again, giving the objective and figurative a different character. Both become so fictional and emphasize the artificial character of the painting.

An important means of achieving such effects are the properties and effects of colors and a precise, knowing or intuitive use of them. All of these design principles can be clearly seen in Kolondam’s triptych “Happiness”. As the title suggests, it is a cheerful picture. A young girl goes hunting with a butterfly net to capture what we know is always ephemeral “happiness”. Her body is bright blue, as are the large palm trees that form the vegetative backdrop. This blue is the background color, all other colors are on top and create depth or proximity to the viewer. Lively reddish goldfish cavort on the very surface of the painting. With this design, the viewer is taken on a journey through different painting levels. Will the young hunter catch luck with her net? The question remains open.

Many of Kolondam's paintings play with the picture horizon, the view of things, the perspective. Up becomes down, big becomes small and small becomes big, the perceiving eye is led through an interplay from front to back or back. There is a lot to discover, almost like in tricky trompe-l'œil painting with its fantasy landscapes and very similar playful perspectives from times gone by.


Sandra Kolondam paints in oil on canvas, one of the traditional and very time-consuming painting techniques. As a rule, she does not create the colors of a composition beforehand, but rather designs during the painting process using the actual effects of the colors and light. She applies layers of paint finely, they are almost glazed, then overpainting can follow to create the depth of the image. Complex, multi-figured compositions are first created in the head and sometimes in miniature, like a cardboard box as a template, and then designed directly on the picture support. The real, hyperreal and parallel worlds then emerge during the actual painting.