I grew up in an artistic environment. My father Hans Bernhard Gossel was a glass painter. He directed the Glass Painting Department at the Städelsches Kunstinstitut in Frankfurt/Main from 1956 to 1966. In 1960, he founded the "Atelier Glasmalerei Gossel.

My artistic path led from wood sculptures to metal sculptures to works on paper and on canvas.

In the beginning of my artistic work, I was oriented towards an abstracted figurative form, motivated by Homo Sapiens, a thinking being .

The initially massive form in my work increasingly strived for transparency. Working with metal in the form of thin metal bars soldered together, I often hit static limits: The sculptures fell apart. This disappointing development caused me to leave my familiar environment and experience. In fact, it was the beginning of a new path. My interest in the drawn line on paper grew as a result.

A sheet of white paper offers all the possibilities. Materially it is a two-dimensional surface, immaterially it becomes an unbounded space.

On paper, I had the opportunity to create drawn lines as a mixture of overlap, of transparency of opening, which can not only suggest spatial orientation, but also cancel it out at the same time.

I have experimented a lot with different techniques on paper, such as etching and screen printing. http://www. christianegossel. org/

Over time, my work has changed to a quiet meditative nature.

The Line that shapes the meditative nature and also the background that gives the line space has become the subject.

I work primarily on a processed white, almost monochromatic surface, on a linen or cotton canvas. Not focusing on one point, but on several subtle, thin layers of drawn lines. (acrylic and watercolor) I call it the subtle layering of perception. Multiple subtle layers of perception on top of each other with light color elements not only form the starting point for the line(s) drawn with graphite/pencil, but they also form an intense perception of space. The material in itself and the manipulation of the canvas present a new challenge each time.

Simplicity and clarity are found in an extensive and lengthy painting process: The line grows out of this complex process in a contemplative atmosphere. Presumably, the process of painting is as complex as the effort of the viewer to open up to the contemplative content.

The line drawing reminds me of an almost sound of emptiness that apperas at some point. It forms, condenses, continues, and its indeterminacy, emptiness, and free, random choice are questioned.

The line connects the indirect with the immediate; the line refers to itself, it documents nothing.

The line has become an indefinable movement, rapidly advancing to the limits of our consciousness, obviously the line is at the origin of our gestures and feelings . The movement of the line becomes a metaphor for this mental process for both the artist and the one hoe is looking at.

I consider my work to be reflection for this time with its rapidly changing images. My work call for slowing down, taking a step back and then looking forward. 

  • Christiane Gossel`s artistic path has taken her form from wood sculpting and metal sculptures to working on paper.

  • Her compositions emphasize the deciption of the form and expression of the human body as a manifestation of the thought process itself.


  • The solidity inherent in her initial compositions represent a quest for transparency antranslucence, bringing the surrounding space into the foreground. The sculptures depicted space by the joining together of a series of wire rods. These rods marked the beginning of her interest in the line as a medium.
  • Sculpture later gave way to paper as medium of expression, while her work took a crucial step beyond three-dimensionality – the familiar environment of the beholder – into a space free from static law.

  • A sheet of white paper forms the foundation for an unlimited range of possibilities.
  • Seen from a material point of view, it is a two-dimensional surface; while from an immaterial perspective, it is space without limitation.
  • A concentration of lines brings form into being, which in turn dissolves.

  • The hands which are the subject of Christiane Gossel’s work between 2007 and 2012 epitomize the ambivalent play between limitation and dissolution; how that which is thought becomes manifest, to be captured at the very moment of its dissolution. The observer experiences simultaneousness, but also the flow of a sequence of individual moments.

  • “ONE MOMENTS”, completed in 2013/2014, sees the addition of silkscreen coloring to the drawings. “This is a quest to characterize ‘non-form’ without considering that non-form itself needs form”, she says. They are mutually dependent. Thinking and human existence are vividly portrayed as an interplay of color and line.

  • In 2015, Christiane Gossel is inspired by a relief technique found in Tibetan Buddhist art, in which colored silk is fitted onto strips of paper which in are then pieced together to form figures which would traditionally have been painted. Boundaries are formed here not by means of lines, but by the color variations of the silk strips used in this collage-esque technique.

  • She adopted and transformed this technique as a further artistic medium.
  • Her first piece is a white collage in which paper strips are placed beside one another so as to form lines; the composition causes individual, independent elements to appear as parts of one whole. Imaginary lines appear as a result of the three-dimensional elements.

  • Following this, she combines the relief collage technique with lines. The perspective changes continuously; at times the three-dimensional edges of the paper elements dissolve into the whiteness of the base; at other times the lines appear as incisions, leading to open space at the back.
  • A play between different levels.



1960 Born in Frankfurt/Main, Germany

1980 Abitur Gymnasium with Diploma,Justus-Liebig-Schule in Giessen

19881-82 Internship at the City Theatre Giessen for stage design

1982-84 Training in woodcarving /sculpturs completed with diploma in Tann/Rhön

1984-86 Worked at various sculptor

1986-88 Studied in sculptur and designe at the Werkkunstschule für

GestaltungFlensburg completed with Diploma

1988-90 Teacher for painting and creative work at the Marburg School for

Occupational Therapists MSE Marburg

1989-92 'Kunst im Knast', Justizvollzugsanstalt Butzbach/Frankfurt, working creatively

with prisoners, project that started from the University Giessen/Germany

1998 Moved to Arnhem

2006 Masterclass in Photopolymer etching at the Amsterdam

Graphic Workshop [AGA] in Amsterdam /NL

2009 Employee at the Herbergier Arnhem/NL in Arnhem; working with people

suffering from dementia

2010 Silkscreen workshop at the Amsterdam Graphic

Atelier (AGA), Amsterdam

Exhibitions (selection)

1990 Membership BBK, Berufsverband Billdender Künstler, Hessen(g)/ Germany

Mousonturm in Frankfurt/Main (s)/G

'Grenzbereiche', Stadthalle Giessen (s)/G

Kunst am Kino, Kino Traumstern, Lich/Hessen/G

1991 Progetto Civitella D`Agliano, Italia

Monte Forato with Gertrude Moser-Wagner with subject: nature,

mountaineering as own experience and subsequent presentation,

funded by the Ministry of Science and Art in Wiesbaden,

documented in Synapses Forato

1992 Galerie Kunstraum der Reiter in Valencia, Spain

https://www. christianegossel. org/apps/blog

1995 three months artist in residence, Kunstkreis Meppen Emsland/G

focus on work in wood, followed by giving a workshop sculpture,

interactive work with improvised music by Frank Rühl( free jazz e-guitar) and

slide projection, performed at Kino Traumstern/Lich/G

1996 Kunst 96 Zürich/International Art Fair /Switzerland

Exhibition of the Galerie Kunstraum Der Reiter in Valencia/Altea with

three months artist in residence in Altea/Spain

1997 Buitenkunst-Bienale Sittard (g)/NL

2000 'Great Drawing Festival' Kunsthuis 13 in Velp/NL

2001 Gallery Klas Vijf, Velp Gelderland (g)/NL

2002 Galerie Vlasblom, Arnhem (g) /NL

2003 Galerie Forma Actua, Groningen(g)/NL

Graphics in the Historical Museum Arnhem (g)/NL

2007 '1st Frisian Mini-Print Biennial 40 x 40' in Leeuwarden (g)/NL

JAJA Gallery, Amsterdam (s)/NL

2008 Galerie JAJA, Amsterdam(s)/NL

Atelierroute Amsterdams Grafisch Atelier AGA (g)/NL

2009 Galerie Klas Vijf, Velp, Gelderland (g)/NL

Gallery JAJA, Amsterdam (g) ?NL

2012 Membership of the Syrlin Kunstverein E. V. International, Stuttgart/G

'Entdeckungen', Galerie im Zentrum, Stuttgart Syrlin Kunstverein (g)/G

2013 Presentation various silkscreens as part of the 'Hand Therapy Symposion' in

WTC Rotterdam/NL, solo exhibition

Participation in the art auction inspired by 'Carmina Burana' by

Concordia in Leeuwarden

Guest artist in the studio of sculptor Ruth Vulto-Gaube,

Art route Workum /Friesland/NL

2017 Exhibition 'Escape's' at the Kreuzeskirche in Essen (s)/Germany

2021 KV2 The Hague, participation in changing Collection Presentations by

Bos Fine Art/NL

2022 06. 10. - 30. 10 duo exposition in Gallery Utrecht, Erasmuslaan 5,

Bos Fine Art /NL


 Text: Kunsthistorikerin Dr.Petra Beckers, Essen

Translation: Barry Cohen