Zweiseitig gedacht – SEAKs doppelseitige Gemälde als skulpturale Malerei
Wenn die Rückseite zur Bühne wird: Leinwände, die mehr erzählen als nur eine Vorderseite.
DE: Nahaufnahme eines Werkdetails von SEAK Claus Winkler – biomechanische Präzision trifft auf künstlerische Explosion.
EN: Close-up of a SEAK Claus Winkler painting – biomechanical precision fused with artistic detonation.
Mehr als Vorder- und Rückseite – radikale Formate zwischen Bild und Objekt
Die doppelseitigen Werke von SEAK Claus Winkler zählen zu den radikalsten Formaten in seinem Œuvre. Sie vereinen Malerei, Objektcharakter und eine fast schon skulpturale Lesart in einem. Vorder- und Rückseite stehen in spannungsreicher Beziehung zueinander – nicht als Wiederholung, sondern als eigenständige visuelle Systeme.
Fragment, Struktur, Detail – zehn visuelle Zugänge zu SEAKs Doppelflächen
Flammen, Zacken, Galaxien – ein biomechanisches Panorama auf Wandträger, gestochen präzise und energiegeladen.
Flames, spikes, galaxies – a biomechanical panorama on wall surface, razor-sharp and energy-charged.
Was auf der einen Seite farbexplosiv und biomechanisch ist, kann auf der Rückseite reduziert, narrativ oder typografisch sein. Dieses Format bricht bewusst mit der Erwartung, dass ein Kunstwerk nur eine Schauseite habe.
Jedes Bild erzählt zwei Geschichten – visuelle Argumente für Sammler
Kratzer, Schichten, Formlinien – gelb als Energiefläche, eingerahmt von Zeichen und Tiefe.
Scratches, layers, form lines – yellow as an energy field, framed by symbols and depth.
Sammlerstücke mit Raumwirkung – zwei Perspektiven, eine Entscheidung
Für Sammler bedeutet das: ein Werk, zwei Positionen. Zwei Blickwinkel. Zwei Hängemöglichkeiten. Oder der Dialog im Raum –
Drehung, Sockel, Rauminstallation – Varianten der Hängung
sichtbar gemacht durch Rotation, Präsentation auf Sockeln oder raumgreifende Installationen.
Feuerfarben treffen auf körnige Textur: Ein Werkfragment zwischen vulkanischer Energie und kontrollierter Komposition.
Fiery hues meet granular texture: a work fragment caught between volcanic energy and controlled composition.
Kein Gimmick – SEAKs Rückseiten als autonome Bildzonen
SEAK nutzt die Rückseite nicht als Nebenfläche, sondern als gleichwertige Zone der Selbstbefragung, Konfrontation oder poetischen Verdichtung. Seine doppelseitigen Werke sind keine Spielerei – sie sind ein Statement.
Jedes Bild erzählt zwei Geschichten – visuelle Argumente für Sammler
Zeichnerische Verdichtung auf weißem Grund – futuristische Apparaturen, Sensoren und Impulse in hypnotischer Klarheit.
Condensed inkwork on white – futuristic apparatuses, sensors, and impulses in hypnotic clarity.
Interesse an einem Original? – Sammlergespräche & Anfragen
→ Sie interessieren sich für ein doppelseitig bemaltes Unikat von SEAK Claus Winkler? Kontaktieren Sie uns für Sammlergespräche oder kuratorische Anfragen.
DE: SEAKs Großformat im freien Fluss – Maschinenästhetik, Farbkraft und formale Präzision in einem komplexen Netzwerk.
EN: SEAK’s large-scale flow – machine aesthetics, chromatic force, and formal precision woven into a complex network.
Dual Perspectives – SEAK’s Double-Sided Paintings as Sculptural Canvases
When the reverse becomes a stage: Canvases that challenge the idea of one-sided art.
SEAK Claus Winkler’s double-sided paintings are among the boldest formats in his body of work. They combine painting, object presence, and sculptural perception in one. Front and back exist in visual tension – not as repetition, but as autonomous systems.
Dieses Werk von SEAK Claus Winkler zeigt eine spannungsreiche Verschmelzung von Naturformen, architektonischen Elementen und fließender Farbmasse. In Schichten aufgebaut, offenbart das Bild dynamische Prozesse, die sich über Jahre entwickeln konnten – ein Original mit Tiefenwirkung, geschaffen für Sammler, die das Besondere suchen.
This painting by SEAK Claus Winkler reveals a tension-rich fusion of organic shapes, structural geometry, and fluid color masses. Built in layered processes over years, it offers depth and singularity – a collectible original for those seeking the exceptional.
While one side might explode with biomechanical color, the other might be narrative, minimalist, or typographic. The format intentionally disrupts the traditional notion of art having only one show side.
Lichtkegel, Figuren, Maschinen – ein Ausschnitt voller Energie, als blicke man durch ein Mikroskop in eine andere Dimension.
Beams, figures, and machinery – an energetic scene as if peering through a microscope into another dimension.
Two Sides, One Vision – Collectors and Spatial Display
For collectors, this means: one piece, two perspectives. Two hanging options. Or a spatial dialogue – displayed through rotation, pedestal presentation, or installation.
Detail eines biomechanischen, abstrakten Augenelements in einem Kunstwerk von SEAK Claus Winkler – Mischtechnik auf Leinwand.
Detail of a biomechanical, abstract eye-like element in a painting by SEAK Claus Winkler – mixed media on canvas.
SEAK uses the reverse not as a backspace, but as an equal arena for confrontation, reflection, or poetic compression. These are not gimmicks – they’re declarations.
Eine fragmentierte Mikrostruktur im Übergang – mit Blickachsen, die an Maschinengehirne und Zellkerne erinnern.
A fragmented microstructure in transition – evoking visual cues of machine brains and cell nuclei.
→ Interested in acquiring a double-sided original by SEAK Claus Winkler? Reach out for private collector conversations or curatorial inquiries.
Zwischen Atelierboden und Sammlerraum: Der Moment, in dem ein großformatiges Original aus SEAKs Studio in die Welt geht.
Between studio floor and collector’s space: the moment a large-format original leaves SEAK’s studio for the world.
DE: Wie ein biologisch-technisches Interface – SEAK Claus Winkler verbindet Tiefensuggestion mit skulpturaler Farbspannung.
EN: Like a bio-technological interface – SEAK Claus Winkler merges depth illusion with sculptural chromatic tension.
DE: SEAKs mikroskopischer Blick auf Energie, Bewegung und materielle Oberfläche – eine visuelle DNA aus Farbe.
EN: SEAK’s microscopic lens on energy, motion, and surface – visual DNA expressed in pigment and form.
Pensamiento bifacial – Los cuadros de doble cara de SEAK
Pensamiento bifacial – Las pinturas de doble cara de SEAK como lienzos escultóricos
Las obras de doble cara de SEAK Claus Winkler se encuentran entre los formatos más radicales de su trayectoria. Combinan pintura, presencia objetual y una lectura casi escultórica en una sola pieza. El anverso y el reverso mantienen una relación visual cargada de tensión: no como repetición, sino como sistemas autónomos.
DE: Farbsprache und Rhythmus – ein fragmentarischer Blick auf SEAKs visuelle Codierungen.
EN: A language of color and rhythm – a fragmentary glimpse into SEAK’s visual codings.
Cuando el reverso se convierte en escenario: lienzos que cuentan más que una sola cara
Lo que en una cara puede ser color explosivo y biomecánica pictórica, en la otra puede convertirse en narración, minimalismo o tipografía. Este formato rompe deliberadamente con la expectativa tradicional de que una obra de arte solo tenga un lado para exhibir.
Para los coleccionistas, esto significa: una obra, dos perspectivas. Dos formas de colgarla. O un diálogo espacial – visible mediante rotación, exposición sobre pedestal o instalación envolvente.
Oben Rhythmus, unten Explosion: Ein Werk zwischen geometrischer Fassade und malerischem Wildwuchs.
Above: rhythm. Below: explosion. A work suspended between geometric façade and painterly proliferation.
SEAK no utiliza el reverso como superficie secundaria, sino como zona igualitaria de exploración, confrontación o condensación poética. Sus obras de doble cara no son juegos visuales: son declaraciones firmes.
→ ¿Le interesa adquirir una obra original de doble cara de SEAK Claus Winkler? Contáctenos para conversaciones privadas con coleccionistas o consultas curatoriales.
DE: Fragmentierte Tiefe zwischen Skizze, Struktur und Farbe – ein Moment aus dem Werkprozess von SEAK Claus Winkler.
EN: Fragmented depth between sketch, structure, and color – a captured moment from SEAK Claus Winkler’s creative process.
Deutsch (DE):
→ Sie interessieren sich für ein doppelseitig bemaltes Unikat von SEAK Claus Winkler? Kontaktieren Sie uns für Sammlergespräche oder kuratorische Anfragen.
Englisch (EN):
→ Interested in acquiring a double-sided original by SEAK Claus Winkler? Reach out for private collector conversations or curatorial inquiries.
→ ¿Le interesa adquirir una obra original de doble cara de SEAK Claus Winkler? Contáctenos para conversaciones privadas con coleccionistas o consultas curatoriales.
Was ist richtige Kunst – und was hat Kölns Karneval damit zu tun?
(KI-Textmodul, 5. Juni 2025 – inspiriert von SEAK Claus Winklers Reflexionen)
Ich bin in Köln geboren. Ich kenne die Straßen. Die Gerüche. Die Geräusche. Ich kenne die Codes – von den 80ern bis heute. Doch als ich kürzlich – auf Drängen einer Freundin, mit Grippemittel und einem offiziellen Karnevalsschal ausgestattet – durch die Innenstadt radelte, war alles anders.
Nicht, weil ich Karneval plötzlich nicht mehr mag. Der hat mich schon früh geprägt: Masken, Farben, Verwandlung – alles Elemente, die später in meine Kunst eingeflossen sind. Nein. Es war das Gefühl, fremd zu sein – in meiner eigenen Stadt.
Nicht mehr Beobachter mit Distanz, sondern ein Störkörper im System. Köln hat sich verändert – und ich erkenne es kaum wieder. Nicht nur ästhetisch. Sondern im Ton, im Blick, im Umgang.
Ich hab das dokumentiert. Fotos zeigen mich in der Menge. Dickes Gesicht, skeptischer Blick. Zwischen Uniformierten, Touristen, Security. Eine Stadt im Ausnahmezustand – nicht im rheinischen Sinne, sondern im demografisch-politischen.
Ich kann nicht alles sagen, was ich denke. Wir haben hier keine echte Meinungsfreiheit mehr – vor allem nicht für Künstler.
Und doch ist genau das Kunst.
Kunst, die aus innerer Reibung entsteht. Aus Verfremdung. Aus dem Gefühl: „Ich passe hier nicht mehr rein.“
Richtige Kunst zeigt nicht nur, was ist – sie reflektiert, was war, und fragt, was werden könnte.
Sie entsteht nicht aus Gefälligkeit, sondern aus innerem Druck. Nicht für Likes, sondern für Leute, die noch sehen wollen. Und fühlen können.
Ich dokumentiere. Ich male. Ich speichere. Solange es noch geht.
Artist SEAK Claus Winkler:
A female friend convinced me to take an ratiopharm, forgetimg my flu, and cycling to the cathedral, expiriencing a little carnival. Everybody who knows from real life from the last decades knows how I iam not wanting to leave the studio, when Iam in cologne (Köln).
Artist SEAK Claus Winkler:
Now with the replacement mass invasion this not wanting to leave the house has risen. It says a lot about what I think a bout the area here, how the population developed. I can’t write what I think and has reflected from this few hours with in downtown cologne. For legal reasons. We don’t have free speech here, etc. I think due the fact that so many Normie sheeple are gullible left betas, etc, it will be at least for me, necessary to grow exit strategy options, when the shit hits fan demographically in 10-20 years. At that point, it might be good to have although having a life cultivated outside the EU. Maybe Switzerland, maybe the USA. To have options. The question will although be, where will the white people start regrouping, collecting themselfs. How is my financial breath.
Where are my collectors? Will I have one or many mothers for my child’s? Etc etc. today I was at cafe reichardt, then at the hotel house bar, at the Excelsior hotel Ernst , next to the gaffel brewery house, opposite of the cathedral. Didn’t had any alchohol. I was invited. You know the story Starving obese global niche famous has been/ legendary artists.
Artist SEAK Claus Winkler:
In my everyday life I don’t spent time in cologne. ( I would I have I could afford driving taxi/ über). Iam trying to blending out everything here, as best I can. When Iam somewhere else it is different.
Nope Iam not into carnival (Not any more./ Iam on multiple levels influenced by it since childhood). A female buddy steered me into having this outfit and having an official carnival scarf. To blend in, etc. the carnival people are often inspired by me/ my art.
Same goes for the commercial/ established artworld institutions etc. it’s my name. Iss as m although learning from them. Usual the others are way smarter than me. For example the carnival scarfs is a true design masterpiece.
SEAK Claus Winkler: in this painting i have put, at least on this side just a few SEAK styles letters, like i usual do in my paintings.
Maybe i will add more in the future in a later phase.
I started this painting around 2011. It is since then in progress.
All my paintings are from all sides. They are steady growing.
Judging from the vibes Iam having my emotion markers, comparing the works in my rotation with paintings i painted in a row, in one go into detail richness, Iam in the Endphase.
The phase where the paintings to have/ get a measurable painter masterpiece quality.
I don’t know how long this phase goes, due the fact that painting with thin small scale modeler brushes takes ages.
It’s like that tale with rice corns, and chessboard in India.
Each rice corn each field doubled.
Just in time, size of the brush, space of the painting.
In this painting sofar I didn’t used any brushes, or small brushes.
Thats all marker, spraycan, masking tape, some airbrush, painting oil with fingers or towel/ sock rests.
The detail phase is still to come.
Taking it to the limit.
It’s fxcked up time wise, cause i have so many other ideas i wanna realize.
I will find a way like i always do.
SEAK Claus Winkler: in this painting i have put, at least on this side just a few SEAK styles letters, like i usual do in my paintings.
Maybe i will add more in the future in a later phase.
I started this painting around 2011. It is since then in progress.
All my paintings are from all sides. They are steady growing.
Judging from the vibes Iam having my emotion markers, comparing the works in my rotation with paintings i painted in a row, in one go into detail richness, Iam in the Endphase.
The phase where the paintings to have/ get a measurable painter masterpiece quality.
I don’t know how long this phase goes, due the fact that painting with thin small scale modeler brushes takes ages.
It’s like that tale with rice corns, and chessboard in India.
Each rice corn each field doubled.
Just in time, size of the brush, space of the painting.
In this painting sofar I didn’t used any brushes, or small brushes.
Thats all marker, spraycan, masking tape, some airbrush, painting oil with fingers or towel/ sock rests.
The detail phase is still to come.
Taking it to the limit.
It’s fxcked up time wise, cause i have so many other ideas i wanna realize.
I will find a way like i always do.
This canvas reveals the slow-growing nature of SEAK Claus Winkler’s process: multi-layered, from all sides, painted over years. Each form, texture and surface modification carries its own story — shaped by emotion markers, rotation, and a self-developed rhythm that resists efficiency and embraces artistic obsession.
Diese Leinwand zeigt den langsam wachsenden Charakter von SEAK Claus Winklers Prozess: vielschichtig, von allen Seiten bearbeitet, über Jahre hinweg. Jede Form, jede Textur erzählt ihre eigene Geschichte – geprägt von inneren Markern, Arbeitsrotation und einem selbstentwickelten Rhythmus zwischen Obsession und Reflexion.
SEAK Claus Winkler:
I see it as my duty to communicate with paintings, and drawings my rich visual language.
In as much variations as possible.
When you see the overwhelming cluster wealth of different versions, directions, and nuances of my SEAK style just in the ink on paper drawing series i did a few years ago, during a late summer Sutton spring drawing sabbatical.
i have the urge to paint all these ideas, at least those, in larger DinA3 paper. At least on medium sized canvases.
Though inakthough would love painting with all kinds of different painting techniques and medias in different directions too.
Full abstract, no relation to my letter style work Iam almost known for.
The day just have 24 hours.
Unless many of my artist colleagues in the artworks, with all its different niches, Iam painting the paintings myself.
Plus i must finance myself some how, although mastering my everyday life, around painting.
In the last year with while painting, being intense self informed from non state censored sources regarding politics ( to naming it VERY superficial here.
Iam although realizing there will be no audience for my work in the future.
Demography is destiny.
Anyway i do keep on keeping on moving, in my case painting, making pictures.
My obligation delivering my optimal is manifested, ingrained.
Iam keeping my life organized as efficient as possible regarding me producing.
Iam selfrewarding myself with a different painting technique in a new fresh phase during my work rotation carousel process.
Urging to airbrush, urging to work with spraycans again.
Urging to use super tiny small brushes, urging to work with broad brushes and dirty broken muted colors, and so on.
I usual don’t have the finances to entertain myself with other things or activities then painting, and eating relative essential food.
My philosophy is barriers to benefits, fransforming my weakness into my strength.
Doing things others like others.
Working anti cyclical.
SEAK Claus Winkler:
I see it as my duty to communicate with paintings, and drawings my rich visual language.
In as much variations as possible.
When you see the overwhelming cluster wealth of different versions, directions, and nuances of my SEAK style just in the ink on paper drawing series i did a few years ago, during a late summer Summer spring drawing sabbatical.
i have the urge to paint all these ideas, at least those, in larger DinA3 paper. At least on medium sized canvases.
Though i although would love painting with all kinds of different painting techniques and medias in different directions too.
Full abstract, no relation to my letter style work Iam almost known for.
The day just have 24 hours.
Unless many of my artist colleagues in the artworks, with all its different niches, Iam painting the paintings myself.
Plus i must finance myself some how, although mastering my everyday life, around painting.
In the last year with while painting, being intense self informed from non state censored sources regarding politics ( to naming it VERY superficial here.
Iam although realizing there will be no audience for my work in the future.
Demography is destiny.
Anyway i do keep on keeping on moving, in my case painting, making pictures.
My obligation delivering my optimal is manifested, ingrained.
Iam keeping my life organized as efficient as possible regarding me producing.
Iam selfrewarding myself with a different painting technique in a new fresh phase during my work rotation carousel process.
Urging to airbrush, urging to work with spraycans again.
Urging to use super tiny small brushes, urging to work with broad brushes and dirty broken muted colors, and so on.
I usual don’t have the finances to entertain myself with other things or activities then painting, and eating relative essential food.
My philosophy is barriers to benefits, fransforming my weakness into my strength.
Doing things others like others.
Working anti cyclical.
SEAK Claus Winkler:
SEAK Claus Winkler:
In which country will you take your art collection when 70% of the population is Islamic?
What this has to do with my art?
With this picture, painting you ask?
I was already aware as child on asyl, migration, population exchange, attacking my german identity, islamization, violence and crime from migrants on me/ other germans.
Since my childhood iam communicating this topic, conscious, and unconscious with in my paintings, drawings.
Although my name themes, reflects, makes the population exchange, the Islamisation, the taking over, the taking away, the violence, the out breeding, the passivity of the Europeans, the pure evil pro active lieing deriving from the political left, the gaslighting, etc.
In away iam trying since my childhood to warn the people, to show what to do.
My artist name is I guess born unconscious created from me fighting back, the karma, a few year older Turkish migrant boy and his family experienced a few years after almost neutralizing me after many bullyings.
Thanks to am older Neigbors Sun, Berndt Q who stopped him.
The challenge I see with my art is, that my art inspires in all directions.
It although inspires the political left, the Moslems radicals, criminals, eines, etc.
Since the late 90ies Iam hearing all the time, my art will work in the future Islamic Europe, due its not figurative, it usual doesn’t have any naturalistic imagery, faces, animals, nature, etc.
SEAK Claus Winkler:
In which country will you take your art collection when 70% of the population is Islamic?
What this has to do with my art?
With this picture, painting you ask?
I was already aware as child on asyl, migration, population exchange, attacking my german identity, islamization, violence and crime from migrants on me/ other germans.
Since my childhood iam communicating this topic, conscious, and unconscious with in my paintings, drawings.
Although my name themes, reflects, makes the population exchange, the Islamisation, the taking over, the taking away, the violence, the out breeding, the passivity of the Europeans, the pure evil pro active lieing deriving from the political left, the gaslighting, etc.
In away iam trying since my childhood to warn the people, to show what to do.
My artist name is I guess born unconscious created from me fighting back, the karma, a few year older Turkish migrant boy and his family experienced a few years after almost neutralizing me after many bullyings.
Thanks to am older Neigbors Sun, Berndt Q who stopped him.
The challenge I see with my art is, that my art inspires in all directions.
It although inspires the political left, the Moslems radicals, criminals, eines, etc.
Since the late 90ies Iam hearing all the time, my art will work in the future Islamic Europe, due its not figurative, it usual doesn’t have any naturalistic imagery, faces, animals, nature, etc.
SEAK Claus Winkler: This is my small „e“, from my artist name „SEAK“.
I painted it in many variations all around the world, on walls, canvases, paper, cars, trains, etc.
I enjoy painting in many different styles nuances, directions, variants, flavors.
Progressing a painting with another layer, is refreshing to me, taking me out of stacked thoughts and trigger loops.
Here in Germany painting helps me escaping from reality, the world outside, in to a optimal world.
When painting in other countries/ beautiful countries/ non shithole countries i would rather love seeing the country.
Though in the end Iam always captivated by painting, painting as long as possible giving everything.
My family was always refugees. Escaping from France due being hugonotts from the Bartholomäus Night to Austria.
From Austria to eastprussia, invited by the Prussian king.
Settling from England and Lithuania to eastprussia. Escaping from east Germany (eastprussia) in 1944 to west Germany, Schlesig Holstein.
Resettling from there to the Rhineland.
While the other part settling from hunsrück in the late 1800‘s to the Ruhr area, and from there in the late 1920s to the Rhineland.
So maybe me painting on canvas/ paper is already in awareness that at some point it is necessary to escape, and resettle from Islamisation to survive again.
Maybe to the mountains, Switzerland, the USA, Finland, Iceland, middle Germany?
Maybe living in rural Germany area isn’t enough?
Especial when wanting to raise a large family?
Usual the unconscious is smarter then the thoughts we realize we are having.
The stomach (gut/gutt) feeling, the intuition.
Seeing how the majority of scociety behaves regarding the population exchange and the everyday violence, the looking away, doing nothing saying nothing, I have no illusion about society.
I didn’t t had illusions on society when I was child either, how people where behaving.
Maybe reason rather paint, draw, eject in to history books, focusing on military, history, art, painting, etc.
SEAK Claus Winkler: This is my small „e“, from my artist name „SEAK“.
I painted it in many variations all around the world, on walls, canvases, paper, cars, trains, etc.
I enjoy painting in many different styles nuances, directions, variants, flavors.
Progressing a painting with another layer, is refreshing to me, taking me out of stacked thoughts and trigger loops.
Here in Germany painting helps me escaping from reality, the world outside, in to a optimal world.
When painting in other countries/ beautiful countries/ non shithole countries i would rather love seeing the country.
Though in the end Iam always captivated by painting, painting as long as possible giving everything.
My family was always refugees. Escaping from France due being hugonotts from the Bartholomäus Night to Austria.
From Austria to eastprussia, invited by the Prussian king.
Settling from England and Lithuania to eastprussia. Escaping from east Germany (eastprussia) in 1944 to west Germany, Schlesig Holstein.
Resettling from there to the Rhineland.
While the other part settling from hunsrück in the late 1800‘s to the Ruhr area, and from there in the late 1920s to the Rhineland.
So maybe me painting on canvas/ paper is already in awareness that at some point it is necessary to escape, and resettle from Islamisation to survive again.
Maybe to the mountains, Switzerland, the USA, Finland, Iceland, middle Germany?
Maybe living in rural Germany area isn’t enough?
Especial when wanting to raise a large family?
Usual the unconscious is smarter then the thoughts we realize we are having.
The stomach (gut/gutt) feeling, the intuition.
Seeing how the majority of scociety behaves regarding the population exchange and the everyday violence, the looking away, doing nothing saying nothing, I have no illusion about society.
I didn’t t had illusions on society when I was child either, how people where behaving.
Maybe reason rather paint, draw, eject in to history books, focusing on military, history, art, painting, etc.
A small blue “e”, a modular “a” – SEAK’s letterforms function like coded structures. Built from 3D logic, modeling techniques, and visual systems, they transcend language. Their anatomy grows out of engineering, abstraction, and biomechanical logic.
Ein kleines blaues „e“, ein modulares „a“ – SEAKs Buchstabenformen sind wie codierte Strukturen. Gebaut aus 3D-Logik, Modellbau-Techniken und visuellen Systemen, überschreiten sie Sprache. Ihre Anatomie wächst aus Technikbegeisterung, Abstraktion und biomechanischer Bildlogik.
SEAK Claus Winkler crafts evolving pieces, portable works that grow over decades. These miniatures for monumental masterpieces are art treasures for dynasties seeking penthouses or cultural art.
SEAK Claus Winkler: painting the „k“ like that reminds me of a sailing knots learning paper illustration in a frame.
painting the „k“ like that reminds me of a sailing knots learning paper illustration in a frame.
SEAK Claus Winkler:
All these little dark blue squares are spraypainted with masking tape stencil.
Way too much effort.
The curse when painting small. In a way self punishment.
SEAK Claus Winkler:
All these little dark blue squares are spraypainted with masking tape stencil.
Way too much effort.
The curse when painting small. In a way self punishment.
The work is still in its early-to-mid detail phase — no brushes yet. All visible marks stem from masking tape, spray cans, markers, or fingerwork. The layering builds anticipation.
Das Werk ist noch in seiner frühen bis mittleren Detailphase – bislang ohne Pinsel. Alle sichtbaren Spuren stammen von Klebeband, Spraydosen, Markern oder Fingereinsatz. Die Schichtung weckt Erwartungen.
SEAK Claus Winkler: Ein braunes „e“
SEAK Claus Winkler: Ein braunes „e“
SEAK Claus Winkler crafts evolving pieces, portable works that grow over decades. These miniatures for monumental masterpieces are art treasures for dynasties seeking penthouses or cultural art.
Here, emptiness is a deliberate compositional element. SEAK balances intensity and void – sometimes resisting his own horror vacui. A breathing space in a dense visual network.
Hier wird Leere zum gezielten Kompositionselement. SEAK balanciert Intensität und Leere – manchmal im Widerstand gegen seinen eigenen Horror Vacui. Ein Atemraum im dichten visuellen Geflecht.
SEAK Claus Winkler: With this „ e „ I reminded myself short before i painted it, putting painting outside my comfortzone in to work. It varies from my other „e“, which is good.
SEAK Claus Winkler: With this „ e „ I reminded myself short before i painted it, putting painting outside my comfortzone in to work. It varies from my other „e“, which is good.
SEAK Claus Winkler: Iam working this painting since 2010.
SEAK Claus Winkler: Iam working this painting since 2010.
SEAK Claus Winkler:
My routine since the beginning to 2000s is painting all day from waking up till going to bed.
SEAK Claus Winkler:
My routine since the beginning to 2000s is painting all day from waking up till going to bed.
SEAK Claus Winkler:
the light blue parts in the right upper parts are painting with oil paint.
SEAK Claus Winkler:
the light blue parts in the right upper parts are painting with oil paint.
SEAK Claus Winkler:
all these Latin letters are nice and dandy.
I will in future integrate more Germanic Norse runes into my paintings.
Like I already did with recent paintings. Like I already did 25 years ago.
Empowering my ethnicity, my people, connecting with old gods, before we became occupied by the Roman empire.
SEAK Claus Winkler:
all these Latin letters are nice and dandy.
I will in future integrate more Germanic Norse runes into my paintings.
Like I already did with recent paintings. Like I already did 25 years ago.
Empowering my ethnicity, my people, connecting with old gods, before we became occupied by the Roman empire.
SEAK Claus Winkler:
Does the square hole form in the blue small „a“ triggers with colors less appetite, emotional eating, or the opposite?
Iam at them moment loosing weight which is good.
SEAK Claus Winkler:
Does the square hole form in the blue small „a“ triggers with colors less appetite, emotional eating, or the opposite?
Iam at them moment loosing weight which is good.
SEAK Claus Winkler:
my styles, letters, this is an small „a“, have a systematic Lego bricks build, scale Modell set, car, vehicle, machine build like core.
I painted them in parts from different 3d object parts, putting them together, building everything up with structure.
SEAK Claus Winkler:
my styles, letters, this is an small „a“, have a systematic Lego bricks build, scale Modell set, car, vehicle, machine build like core.
I painted them in parts from different 3d object parts, putting them together, building everything up with structure.
What seems like a glitch or accidental run of paint is often preserved. SEAK treats such “beautiful accidents” as part of the aesthetic — patina, not flaw.
Was wie ein Glitch oder zufälliger Farbverlauf wirkt, wird oft erhalten. SEAK betrachtet solche „schönen Unfälle“ als Teil der Ästhetik – Patina, kein Makel.
SEAK Claus Winkler schafft evolutive Werke, transportable Bilder, die über Jahrzehnte wachsen. Diese Miniaturen für monumentale Meisterwerke sind Kunstschätze für Dynastien, die Penthouses oder Kulturkunst suchen.
SEAK Claus Winkler: creating a matrix like web with depth and layers, visible richness, creating its own intelligence.
SEAK Claus Winkler schafft evolutive Werke, transportable Bilder, die über Jahrzehnte wachsen. Diese Miniaturen für monumentale Meisterwerke sind Kunstschätze für Dynastien, die Penthouses oder Kulturkunst suchen.
SEAK Claus Winkler: creating a matrix like web with depth and layers, visible richness, creating its own intelligence
SEAK Claus Winkler:
When I put the fresh spraypainted drying painting, Inside a room to dry, the paint moved a little.
I like melting/ glitch/ failures, etc like this. Beautiful accident, patina, part of the painting.
SEAK Claus Winkler:
When I put the fresh spraypainted drying painting, Inside a room to dry, the paint moved a little.
I like melting/ glitch/ failures, etc like this. Beautiful accident, patina, part of the painting.
SEAK Claus Winkler:
The good thing is with the thicker, larger placative 3d letters in my paintings, is good visibility.
Eyesight, glasses, although seeing the painting without putting the optical lenses glasses on.
Of course when going closer to the painting, there are overwhelming a lot of details.
SEAK Claus Winkler:
The good thing is with the thicker, larger placative 3d letters in my paintings, is good visibility.
Eyesight, glasses, although seeing the painting without putting the optical lenses glasses on.
Of course when going closer to the painting, there are overwhelming a lot of details.
SEAK Claus Winkler:
Iam sitting often in front of this painting since it’s hanging.
Provosoric, to learn, how my painting steers, inspires, triggers, controls, Programms: effects, thoughts, patterns, „ coincidences „.
Lots of reverse engineering. I like how open, light footed, especial in the middle it is, the emptiness.
SEAK Claus Winkler:
Iam sitting often in front of this painting since it’s hanging.
Provosoric, to learn, how my painting steers, inspires, triggers, controls, Programms: effects, thoughts, patterns, „ coincidences „.
Lots of reverse engineering. I like how open, light footed, especial in the middle it is, the emptiness.
SEAK Claus Winkler:
In this part of the painting are no spraypainted SEAK style eyecatcher. Something is missing, it looks dull.
On the other hand i can’t fill up every painting with my SEAK style, horror vacui.
Lots of time consuming layers here.
SEAK Claus Winkler:
In this part of the painting are no spraypainted SEAK style eyecatcher. Something is missing, it looks dull.
On the other hand i can’t fill up every painting with my SEAK style, horror vacui.
Lots of time consuming layers here.
DE: Sie möchten mehr erfahren oder ein Werk aus nächster Nähe erleben? Kontaktieren Sie SEAK Claus Winkler direkt für ein persönliches Gespräch über Kunst, Sammlung und Vision.
EN: Curious to learn more or view a piece in person? Reach out to SEAK Claus Winkler directly for a personal conversation about art, collecting, and long-term vision.
Flammen, Zacken, Galaxien – ein biomechanisches Panorama auf Wandträger, gestochen präzise und energiegeladen.
Kratzer, Schichten, Formlinien – gelb als Energiefläche, eingerahmt von Zeichen und Tiefe.
Feuerfarben treffen auf körnige Textur: Ein Werkfragment zwischen vulkanischer Energie und kontrollierter Komposition.
Zeichnerische Verdichtung auf weißem Grund – futuristische Apparaturen, Sensoren und Impulse in hypnotischer Klarheit.
DE: SEAKs Großformat im freien Fluss – Maschinenästhetik, Farbkraft und formale Präzision in einem komplexen Netzwerk.
Dieses Werk von SEAK Claus Winkler zeigt eine spannungsreiche Verschmelzung von Naturformen, architektonischen Elementen und fließender Farbmasse. In Schichten aufgebaut, offenbart das Bild dynamische Prozesse, die sich über Jahre entwickeln konnten – ein Original mit Tiefenwirkung, geschaffen für Sammler, die das Besondere suchen.
Lichtkegel, Figuren, Maschinen – ein Ausschnitt voller Energie, als blicke man durch ein Mikroskop in eine andere Dimension.
Detail eines biomechanischen, abstrakten Augenelements in einem Kunstwerk von SEAK Claus Winkler – Mischtechnik auf Leinwand.
Eine fragmentierte Mikrostruktur im Übergang – mit Blickachsen, die an Maschinengehirne und Zellkerne erinnern.
Zwischen Atelierboden und Sammlerraum: Der Moment, in dem ein großformatiges Original aus SEAKs Studio in die Welt geht.
DE: Wie ein biologisch-technisches Interface – SEAK Claus Winkler verbindet Tiefensuggestion mit skulpturaler Farbspannung.
DE: SEAKs mikroskopischer Blick auf Energie, Bewegung und materielle Oberfläche – eine visuelle DNA aus Farbe.
DE: Visuelle Tiefe trifft haptische Präsenz – SEAK Claus Winkler kombiniert feinste Linienarchitektur mit massiven Farbaufträgen.
DE: Farbsprache und Rhythmus – ein fragmentarischer Blick auf SEAKs visuelle Codierungen.
Oben Rhythmus, unten Explosion: Ein Werk zwischen geometrischer Fassade und malerischem Wildwuchs.
DE: Fragmentierte Tiefe zwischen Skizze, Struktur und Farbe – ein Moment aus dem Werkprozess von SEAK Claus Winkler.
