In his art, Heinrich Siepmann primarily pursues the goal of “creating a pictorial organism that unites space, area and conception within it, reduces the formal canon to the most common denominator and strives for sensitisation, consonance and tension in the pictorial treatment of the colour matter.” With great sensitivity, he designs his large oeuvre of individual works from his seemingly boundless repertoire of forms. Fascinating are the most diverse variations and combinations of the formal constellations of rectangles and trapezoids, verticals and horizontals, squares and circles. The application of paint and the tone of the works vary accordingly.
And it becomes particularly clear in this aspect of accentuation with colour that Siepmann was no cool constructivist. “Siepmann is no mathematician, but instead more of a lyric poet who controls his feelings”, Sabine Fehlemann verifies in an article on the occasion of the presentation of his works in the State Russian Museum in St. Petersburg in 2001.
Heinrich Siepmann, however, is not presenting poems in his works. Instead, he develops an eloquent game or “chatty, rational combinatorics” through the combination of the individual areas and lines. (Sabine Fehlemann)
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