Corinna Ripps Schaming, in: Flicker, exhibition brochure, University Art Museum, Albany, NY, 2006

Bettina Sellmann’s paintings evoke the conventions of Old Master portraits, conveying a sense of both mourning and desire articulated through familiar painterly conceits. Using multi-layered, translucent pigments in pale pinks, powder blues, and Day-Glo yellows and greens, Sellmann renders delicate watercolors on canvas in which solidity and form immediately break into fluid distortions. By peeling […]

Andreas Schlaegel on Bettina Sellmann’s Paintings, in: Bettina Sellmann: Magic Every Day, exhibition catalogue, Gilla Lörcher | Contemporary Art, Berlin, 2013

It’s already there!   If you wanted to explain painting, language is surely not the right means to do so. It’s much too concrete, arduous, time-based and cumbersome. A flirt could come closest, a coquettish and elusive approximation. This is the quality one can find in the personages of Bettina Sellmann’s paintings, as well as […]

René Luckhardt, in: Austellungskatalog Farbauftrag, Haus am Lützowplatz, 2018

„Untitled“ stammt aus der Serie „Spiral, Square and Dickie Bow“, einer Reihe gleich großer Querformate aud dem Jahr 2015. Sie alle wiederholen die Darstellung eines Kawaii*-artig reduzierten Doppelportraits, das Bettina Sellmann malerisch variiert. Kawaii stammt aus dem Japanischen und bedeutet soviel wie süß, niedlich oder attraktiv. Das wesentliche Merkmal dieser Niedlichkeitsästhetik ist die Ausdruckslosigkeit der […]