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Claudia Barthoi


Claudia Barthoi is a Berlin-based artist, whose art is strongly based in a mutual relationship between materials, surfaces, structures and lines.

Born as Claudia Corinne Siegert in Munich, Germany in 1971, the artist changed her name to Claudia Barthoi after she decided to focus exclusively to artistic development. At first, Claudia enrolled into a Fine Art studies, but soon switched to a graphic design school. Capable and competent, she instantly after graduation started working and building a career in advertising.

After a 10-year long career and after winning numerous national and international prizes – such as Cannes Lion, the highest international award in the advertising sector – Claudia leaves the never-loving advertising sector behind, changes her name to Claudia Barthoi to mark this transition, and starts investigating her artistic expression through sculptures and drawings on paper. She enrolls into renowned art schools in Hamburg, Berlin and New York and gradually develops her own visual language, influenced by the post-war art movements. At that time, Barthoi’s motto that led her was “Being an Artist is not for Pussies”, and remains her strong statement and attitude to creating art in years to come ... please continue reading here …


Claudia Barthoi "do.not.obey". 2020, Collage, Oil, oil stick, thread, paper, thread, watercolour, graphite, chalk, on canvas, 165 x 125 cm
Collage on Canvas


Claudia Barthoi "Scar Tissue", 2011, collage with Oil, paper, thread, pigmented varnish, graphite, coloured pencil on linnen, approx. 180x130 cm [71"x51"]
Collage on linnen


"Play Dead", 2013, Collage oil and graphite on paper 160 x 120 cm [approx. 63"x47"]
collage on linnen

play dead

Claudia Barthoi "Cuts You Up", 2013, collage, oil. paper, thread, pigmented damar varnish, graphite, binder, 180 x 130 cm [approx. 71" x 51"]
collage on canvas

cuts you up

Claudia Barthoi "2 Hände, 2 Beutel, Vorsprung", 2016, Collage, Oil, paper, pigmented varnish, oil- 2016 stick, charcoal, graphite, wax, on canvas, 145 x 140 cm [57x55"]
collage on canvas

2 hände, 2 beutel, vorsprung

Claudia Barthoi "I Can Hear Your Knife", collage with Oil, paper, thread, pigmented varnish, graphite, flourescent day pigment, adhesive tape, on linnen. Approx. 193 x 148 cm [76" x 58"]
collage on linnen

I can hear your knife

Claudia Barthoi "Scar Tissue", 2011, collage with Oil, paper, thread, pigmented varnish, graphite, coloured pencil on linnen, approx. 180x130 cm [71"x51"]
Collage on linnen


Claudia Barthoi "The Rise And Fall Of Phoenix", 2014, collage, Oil, paper, graphite, on canvas, 195 x 140 cm [approx. 76.5 x 55"]
Collage on canvas

the rise and fall of phoenix

Claudia Barthoi , O.A.2 (Arbeitstitel), 2020, collage on canvas, chalk, oilstick, oil, paper, thread, fabric, wallpaper, graphite, pigment marker, pigmented varnish, 175 x 190 cm
collage on canvas


Claudia Barthoi "D1", 2017, Collage, Oil, graphite, watercolour, acrylics, paper 105  x 68 cm [41.5 x 27 inches]. Framed in wooden case
work series on paper


Claudia Barthoi n.n., 2020, collage, oil, paper, graphic, oilstick on canvas, 100 x 90 cm [39"x35"]
collage on canvas


Claudia Barthoi "VERSUS", 2015, Collage, Oil, paper, wax, charcoal, oil-stick, graphite, on canvas, 300 x 195 cm [118"x77"]
Collage on canvas


Claudia Barthoi "115 Maujer [Alicia’s Keys]",2007, Installation, glass case, urine enclosed in wax, human hair, conditioner, dust, vaseline, lippgloss, pigment, original apartmentkeys, tape, 40 x 30 x 36 cm [16"x12"x14"]

115 Maujer [Alicia’s Keys]

Claudia Barthoi "Clown", 2016, collage, Oil and graphite on layers of paper, 96 x 72 cm, [38 x 28 inches]. Framed in wooden case.
work on paper


Claudia Barthoi "That's Why I Am So Clumsy", 2010, collage, oi, pigmented damar varnish, paper, thread, graphite, tempera, on linnen, approx. 180 x 160 cm [71"x63"]
collage on linnen

that's why I am so clumsy

Claudia Barthoi "Claudia mag nicht sprechen (ohne Titel)", 2005, graphite, coloured varnish, thread waterolour, foil, on paper
WORKS on paper

claudia mag nicht sprechen

artist statement

I work abstract and use the means of painting and drawing in a combination in which I like to ignore the original use of materials; I am not particularly interested in the traditional convention of their use. I have no interest in realistically depicting the visible. My work also does not refer to recognizable forms. Instead, I prefer to question principles. The results are deconstructed in such a way that the meaning is shifted and possible interpretations are multi-layered.

My way of working has its origins in drawing. Even though I now work with brushes and oil on canvas, it is always a drawing. The line is more important than the painted surface, contrasts are more important than transitions; surfaces stand back and are re-divided by lines. You can think of my work as a kind of patchwork, collages with delicate papers pressed on wet oil paint form translucent areas and are reconnected with lines. Thoughts that have just arisen are manifested in words, notes are written on canvas to be crossed out again, "mistakes" are repeated.

My subjects definitely come from my environment, from what's happening around me, either just me alone, or our whole society. From time to time I like to call for civil disobedience. However, I am far from creating pamphlets.

Each of my works is an experiment, I never know how it ends. Of course, I have the concept or subject in mind, but then I have to give the process its freedom, the work must be allowed to develop. I think if a piece is reminiscent of a previous one, I wasn't finished with that subject yet.

Ich arbeite abstrakt, nutze Mittel der Malerei und Zeichnung in einer Kombination, bei der ich die ursprüngliche Verwendung der Materialien gerne ausser acht lasse; die traditionelle Konvention ihrer Verwendung interessiert mich nicht sonderlich. Ich habe kein Interesse, Bestehendes naturgetreu wiederzugegeben. Mein Werk bezieht sich auch nicht auf erkennbare Formen. Es gefällt mir stattdessen, Prinzipien in Frage zu stellen. Die Ergebnisse werden so dekonstruiert, dass die Bedeutung verschoben wird und eine mögliche Interpretation vielschichtigt.

Meine Art zu Arbeiten kommt aus der Zeichnung. Auch wenn ich inzwischen mit Pinsel und Öl auf Leinwand arbeite, ist es doch stets eine Zeichnung. Die Linie ist wichtiger als die Fläche, Kontraste sind wichtiger als Übergänge; Flächen treten zurück und werden erneut von Linien unterteilt. Sie können sich meine Arbeit als eine Art Flickwerk vorstellen, Collagen mit zarten Chinapapieren auf nasse Ölfarbe gedrückt bilden durchscheinende Bereiche und werden erneut mit Linien verbunden. Eben entstandene Gedanken werden in Worten manifestiert, Notizen werden auf Leinwand geschrieben um dann wieder durchgestrichen zu werden, "Fehler" werden wiederholt.

Meine Themen kommen auf jeden Fall aus meinem Umfeld, aus dem, was um mich herum passiert und entweder nur mich alleine angeht, oder unsere ganze Gesellschaft. Von Zeit zu Zeit rufe ich gerne zum zivilen Ungehorsam auf. Das Erstellen von Pamphleten liegt mir jedoch fern.

Jede meiner Arbeiten ist ein Experiment, ich weiß nie, wie es endet. Natürlich habe ich das Konzept oder Thema vor Augen, doch dann muss ich dem Prozeß seine Freiheit lassen, die Arbeit muss sich entwickeln dürfen. Ich glaube, wenn eine Arbeit an eine vorhergehende erinnert, war ich mit einem Thema noch nicht fertig.

sparkling views

"I know the artist Claudia Barthoi since 07 when I started to work in a gallery where she was the manager. I got familiar with her work since she was part of several exhibitions in our gallery, I visited her studio and fell in love with her abstract and expressive ways. I always thought “if I have a bit money left one day I'll buy myself a Barthoi”. It took 11 years. I bought one of her bigger works for my new apartment and we spent almost 1 day together to find the right wall. Yes, the artist herself helped me with the hanging – lucky me! Every day I love it more and more, I’m sure I will get a second one when this Covid shit is over."
(Mira, DJ, Berlin)
"Splendid! Bloody marvellous and so versatile. You can hang Mrs Barthoi's work up side down and it always fit any space and all my interior designers love her colour scheme. And the black pencil is never too depressing but uplifting and enchanting. Abfab!"

(Mhari McB., Isle of Sky)
"Das sind ja schöne Skizzen. Aber wo geht es hier zu den richtigen Arbeiten? Die müssen ja auch irgendwo sein."

(Austellungsbesucherin, anonym)
"Her works are on the one hand touchingly beautiful, on the other hand painfully attractive. Again and again, the artist leaves us orphaned with a mix of conflicting feelings and thoughts."

(artist bollocks generator)
"Barthoi's work is so amazing. The art of her cultural references flies over the heads of the onlookers. Her deep immersion into her subjects reveals a profound understanding of the sublime."

(A.F.X., hacker extraordinaire)
"Was ich auf eine einsame Insel mitnehmen würde? Auf alle Fälle meine zwei Barthois! Eventuell noch meinen Mann. Wenn Platz auf dem Boot ist."

(Birgit, CDO, Zürich)
"Ein Leben ohne Kunst hat macht keinen Sinn. Und Claudia Barthois Werke sind eine echte Bereicherung. Danke."

(Bernd-Olaf G., Kunstdüngerproduzent)

drop me a line!

Any information on resume, shows and upcoming stuff is gladly given. Praise and compliments are most appreciated ;)

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