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Sebastian Speckmann

o.t. (Beton), Linolschnitt, 30x20cm,2010o.t., Linocut, 30x20cm, 2010Morgengrauen, 42 x 29,5 cm, Lithographie, 2010
Herd, 17 x 22,5 cm, Lithographie, 2010mansion 1, 27,5 x 37cm, Lithographie,  2010mansion 2, 37 x 47 cm, Lithographie, 2010
mansion 3, 37 x 50 cm, Lithographie, 2010o.T. 30x30cm, Linocut, 2010o.t. (Block), Durchmesser 29cm, Linolschnitt, 2010
o.t. (Stein), Durchmesser 29cm, Linolschnitt, 2010o.t. (Turm), Durchmesser 29cm, Holzschnitt, 2010Herd, 30x42cm, 2011
o.t., 27x36cm, 2011rest, 40 x 30 cm, Holzschnitt, 2010, 300dpiVorhof, 2009, Linocut, 70x90cm
Siedlung, 2009, Linocut, 137x96cmHof, 2009, Linocutt, 91x137cmo.T. (Rampe), wood cut, 2009, d61cm
untitled (Hänger), wood cut, 2009, d61cmuntitled (Strand), d61cm, woodcut, 2007Ausflug, 40,5x31cm, Lino cut, 2007
Sausages, 16x16cm, lino cut, 2008Tischrunde I, 29,5x37, lino cut, 2008Raum I, 12x15cm, Linocut, 2007
Feuerstelle II, 20x30cm, Linocut, 2008Einbruch II, 21x29,5cm, Linocut, 2008Schuss II, 21,5 x 15,5 cm, Linocut, 2007
o.t., 18,5 x 12 cm, Linocut, 2007o.t.(frau sitzend), 24,5 x 13 cm, Linocut, 2007o.t.(frau raucht), 24,5 x 16 cm, Linocut, 2007
o.t. Plasma, 22,5x10cm, Linocut, 2007Spind, 25x12,5cm, Linocut, 2007Homies, 2007, 45x36cm, woodcut, 2007
Schleimfrau, 25,5x16,5cm, Linocut, 2007Fuchs I, 14,5x17,5cm, Linocut, 2007Einbruch I, 21x27,5cm , Linocut, 2007
car, 24,5x29,5cm, Linocut, 2007o.T. (Brand) Plasma, 30x21, Linolschnitt, 2007Kubus, 42x30cm, Linocut, 2007
Flusslauf 2, 2005, 30x37cm, LinocutFlusslauf 1, 2005, 30x37cm, LinocutFeuerstelle I,19,5x28cm, Linocut, 2007
Einschlag, 39x41,5cm, Linocut, 2007Tatra, 89x145, Linolschnitt, 2006

Sebastian Speckmann places spark - throwing furnaces of radiances and a sea of fiery phantoms, explosive ignitions of the horizon, which causes a magical and morbit illumination of the reality of things.He ventures into deepest blackness to bring forth whatever world can still be traced in the realm of uncertain visibility. A subversive imagery of great suggestive power emerges on the open, flat surface, beyond everything. To a large extent without a single person, at the clearing, in the ticket or near the waters; Sebastian Speckmann moves alongthe margins, both in terms of landscapes and inner feelings, along the borders between the apocalyptic and the primordial, beyond time and in solitary confrontation with the the demarcation line of reality.

...

(Anja Brähler) 


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