Artist from Germany
Born close to Nuremberg, Germany, Petra Dippold-Goetz grew up in the city of Albrecht Dürer immersed in its strong artistic traditions.
To improve and refine her techniques she studied Fine Arts at the Academy of Faber Castell from 2014 to 2018, expanding her expressive potential while maintaining a personal dedication to socio-political issues. Inspired by visits of museums all over Europe her art got influenced by “Informal Art”, especially by Emil Schumacher, Anselm Kiefer, Jackson Pollock and Franz Kline.
Over the past several years, she has been invited to exhibit in cultural hubs ranging from Vienna, Paris and Barcelona to New York and Tokyo, reflecting a growing international appreciation for her distinctive vision. You can find her works in all parts of Europe, the USA, Singapore and Japan.
She is really into collages and assemblages of all kind and works with acrylic and oil colors, depending on the subject. With passion she processes heterogeneous materials as sand, wooden parts, trash as well as any kind of plastic. So she was invited to Trash Art Festivals. Through workshops, she taught others to transform waste into art, to see beauty and potential in the overlooked, and to recognize the cost of disregard.
Petra has been awarded several art prizes, like, “Faces of Peace”, “Voices of Tomorrow” and ‚ “Global Art Virtuso”.
Her greatest wish as an artist is to continue to touch people’s hearts with her works, to critically question our lifestyle and to appeal to reason and insight.
In a global context where ecological crises and social challenges often feel overwhelming, her paintings stand as vibrant calls to both delight in the world’s wonders and to safeguard them. Through her compelling blend of artistic heritage, environmental engagement, and the irrepressible energy of gestural abstraction, Petra Dippold-Goetz contributes a passionate voice that resonates far beyond the borders of her native Germany.
ARTIST STATEMENT
“Art is a daughter of freedom.” – Friedrich Schiller
Painting has always been my passion.
I never initially intended to pursue a career as an artist. That changed in 2014. One winter evening, I discovered a lifeless white dove in my garden—its feathers scattered across the blood-stained snow. This haunting image deeply moved me. I created a series of artworks using the remnants of that moment, and with them came a decision: I would begin to share my emotions and experiences with the world through art.
From 2014 to 2018, I studied Fine Arts at the Academy of Faber-Castell in Nuremberg, where I honed my technical skills and developed a raw, intuitive visual language. My artistic voice is deeply inspired by Informal Art and shaped by the work of Emil Schumacher, Anselm Kiefer, Jackson Pollock, and Franz Kline.
My paintings are emotional, instinctive, and expressive. Some works are simply celebrations—of life’s beauty and the joy of artistic creation. Others carry a more urgent message. They are visual calls to awareness and action: a protest against the destruction of our planet and the commercial extinction of countless animal species. I believe our greatest responsibility is to preserve this magnificent world and pass it on—intact and worth living in—to future generations.
I see myself as an artist-activist, using my brush not only to create but to awaken. I want my art to be both a gift of beauty and a call to conscience—a reminder of what is at stake, and of what can still be saved. I hope my works become true “daughters of freedom”: born of purpose, carrying a voice, and inviting the viewer to reflect with reason, feeling, and compassion.
more. petradippoldgoetz.com |
This year, 2026, German artist Petra Dippold-Goetz participated in two International Art Exhibitions between Basilicata (Matera) and Puglia (Lecce), highlighting the extraordinary complexity of a pictorial research driven by parallel and complementary impulses. Within the framework of contemporary Informal Art, the artist’s investigation moves simultaneously along two inseparable tracks: the lyrical introspection of the soul and the civic responsibility of environmental witness. The exhibitions in Matera and Lecce do not depict a chronological evolution; instead, they offer a synergistic look at an eclectic production capable of coexisting, within the same historical moment, the most fluid gestural abstraction and the material density of social critique.
1) NEW HORIZONS – Authenticity, Resilience and Renewal in Matera, at Casa Cava, from March 21 to 27, 2026 with her paintings: “Floral Rhapsody” and “Whispers of Light and Shadow”. Within this millennial setting, the curatorial selection sought to give voice to the artist’s most intimate, visceral, and psychological dimension, presenting two works where painting is pure action and kinetic energy. The painting “Floral Rhapsody” has been a vital and radiant explosion of blues, yellows, and magenta accents applied with thick palette knife strokes, celebrating chromatic instinct and pure joie de vivre. “Whispers of Light and Shadow”: a canvas with a powerful dramatic dynamic, furrowed by dark filaments and slashes of white light that evoke the choreography of sound, translating the invisible dynamism of emotional states into painting.
INTERVIEW with Petra Dippold-Goetz concerning the International Art Exhibition NEW HORIZONS – Authenticity, Resilience and Renewal in Matera, at Casa Cava, from March 21 to 27, 2026.
Carmela Loiacono – Vulnerability in your works transforms into creative strength, making change a necessary and generative act. How does this tension between fragility and strength reflect your personal approach to artistic creation?
Petra Dippold-Goetz – Vulnerability is an essential part of my artistic process. I don’t try to hide it, I work with it. In moments of uncertainty, fragility, or emotional intensity, something very honest emerges, and this honesty becomes the foundation of the work. For me, strength does not mean control or perfection. It comes from allowing things to break, to shift, and to evolve. The tension between fragility and strength is where transformation happens, where something raw becomes meaningful. My approach to creation is deeply intuitive: I trust that even the most delicate or unstable moments carry a creative force. In this way, vulnerability is not a weakness, but a starting point, a space where change becomes necessary, and where new visual languages can arise.
Carmela Loiacono — It was a true pleasure to meet you in Matera, talk and exchange ideas about the exhibition, and also to spend time together! Looking at your paintings “Floral Rhapsody” and “Whispers of Light and Shadow” in the exhibition space at Casa Cava, what emotions or reflections did experiencing the show live and seeing the works interact with the city and the light of the place evoke for you?
Petra Dippold-Goetz – Experiencing the exhibition at Casa Cava was deeply moving for me. The space itself, carved into the ancient stone, carries a quiet memory of time that seemed to resonate with my works “Floral Rhapsody” and “Whispers of Light and Shadow.” Seeing them there, surrounded by the soft, ever-changing light of Matera, felt almost like a dialogue between the paintings and the city — between fragility and strength, past and present. During the days of the Ceremonia di apertura Matera 2026, everything was intensified: the energy, the emotions, the sense of connection. I felt incredibly proud and grateful to be part of such a powerful moment, where art, place, and human experience came together so naturally and beautifully.
Carmela Loiacono – “Floral Rhapsody” is gestural and vibrant, expressing immediate authenticity: color flows freely, suggesting openness, energy, and trust in the transformative process. “Whispers of Light and Shadow”, more layered and contrasted, introduces tension and fragmentation, showing how resilience emerges through breaks and recompositions. How do you interpret this journey from spontaneous expression to conscious reconstruction?
Petra Dippold-Goetz – The journey from spontaneous expression to conscious reconstruction reflects my intuitive way of working. In “Floral Rhapsody”, I allow the moment to guide me completely, it is about trust, freedom, and surrendering to the flow of color and emotion. There is no control, only presence. With “Whispers of Light and Shadow”, the process becomes more reflective. Layers, contrasts, and interruptions emerge, almost like traces of experience. Fragmentation is not destruction, but transformation, a necessary step to rebuild something deeper and more aware. For me, this transition is not a break, but a continuation: from pure intuition to a more conscious dialogue with the canvas. It mirrors life itself, where openness and vulnerability evolve into strength, resilience, and a new form of harmony.
Carmela Loiacono – I know you are a very strong and active woman, what are your future projects or new artistic directions you wish to explore after the experience of this exhibition?
Petra Dippold-Goetz – After this experience, I feel even more drawn to focus on truly meaningful and high-quality exhibitions, like this one, where art is given the space to connect deeply with people and place. In terms of my artistic direction, I want to return more strongly to Trash Art and environmentally critical works, engaging with the urgent issues of our time and transforming them into visual narratives. At the same time, it remains essential for me to create pieces that bring lightness and beauty, works that can touch people, uplift them, and remind them of the fragile and precious beauty of our world. For me, art will always move between these two poles: awareness and hope.
2) NATURAL FLOW – The 2nd Edition 2026 in Lecce at MUST – Museo Storico della città di Lecce, from July 03 to 18, 2026 with her paintings: “Il gioco dell onde I”, “Il gioco dell onde II” and “Pollution”. Here, the curatorial exploration focused on the painting-sculpture of Petra Dippold-Goetz and her ecological activism through a core of three works of great material and conceptual impact: “Il gioco dell onde I” and“Il gioco dell onde II“: a powerful marine diptych dominated by a dense layering of blues and lime whites. Working the surface to a heavy thickness, the artist mimics the ancestral force of ocean currents, as “a dance of waves” while reminding us of the profound fragility of marine ecosystems.
The painting “Pollution” has been a perfect manifesto of her Trash Art production. In this work-artifact, the canvas incorporates and exorcises heavy pours of cement paste, industrial cardboard, and exhausted paint tubes. The discarded object is re-semanticized, transforming the artwork into a visual scream against the global devastation of the Anthropocene.
Comprehensive Critical Overview
The profound value of these two exhibitions lies precisely in showing the coexistence of these two worlds. Petra Dippold-Goetz does not choose between the aesthetics of nature and the harshness of social critique, nor does she abandon lyricism for denunciation. On the contrary, the two dimensions feed into each other: the fluid gesture digging into interiority (Matera) coexists with the materiality of marine currents and ecological denunciation (Lecce). It is precisely this parallel duality that establishes her research as one of the most fertile, necessary, and poetically militant voices on the current international art scene. – Dr. Carmela Loiacono, Art Curator
