In 1962, Sivert had his first exhibition together with his artist colleague and later collaborator Ulrik Samuelson. At the exhibition, he displayed, among other works, the bronze figures "The Runner" (100x37x28), "Untitled" (48x15x18), and "Venus" (98x29x33), all sculpted between 1959 and 1961.
"In early interviews, Sivert has stated that he had an early relationship with the French sculptor Auguste Rodin (1840–1917). François Auguste René Rodin, a name synonymous with modern sculpture, emerged from 19th-century France as a revolutionary force. Rodin's artistic journey was characterized by a conscious rejection of the prevailing academic standards of his time. Although trained in classical techniques, he rejected the idealized forms and narrative rigidity that dominated sculpture. Instead, he sought to capture fleeting nuances of human emotions, the weight of thoughts, and the complexity of inner life. Rodin's artistic legacy is secured by a series of iconic sculptures that continue to make viewers worldwide reflect upon and contemplate what they see. "The Thinker" (1880–1882) is one such sculpture. It has become an emblem of philosophical contemplation, an embodiment of brooding, whose powerful form expresses the weight of human thoughts and existential questions. Later in life, Sivert would create his own interpretation of the absorbed figure. Then more peacefully, "sitting in meditation" – perhaps undisturbed. He had his entire body cast with crossed arms, enclosing a cube, with closed eyes. Rodin's sculptures often displayed unfinished surfaces and deliberately left traces of the artist's hand as a testament to the creative process itself. This approach to his creation can also be seen early in Sivert's sculptures. Auguste Rodin is widely regarded as the father of modern sculpture. Auguste Rodin: "I use the language of the people, words from everyday speech, for thoughts must be clear and easy to grasp."
"An anecdote in this context is my first meeting with Sivert. Already at 14, I was interested in art. On weekends, I used to take the subway from the suburb of Hässelby Strand and attend exhibition openings. I had noticed an exhibition on Humlegårdsgatan at Galleri Burén (1963) with sculptures that seemed interesting. I thought I saw something that almost resembled something. To me, it seemed as if he had stopped before the sculpture was finished. I saw a headless body, a runner in motion. I saw a figure he called "Venus," but I couldn't see where she was. Interested as I was, I asked Sivert why he hadn't completed the sculptures before exhibiting them. I remember he smiled and said: "You'll have to add that part yourself. I leave some things unsaid. I leave what you think is missing to your imagination." It is in the foreword of the catalog for the upcoming exhibition at Galerie Burén in 1963 that Leon Rappaport would become more closely acquainted with Sivert and Ulrik. This would lead to a lifelong connection between them, which, on many intellectual and creative levels, has inspired each other's thinking and artistic practice in both writing and in bronze and painting..." /JÖ