Sebastian Steinboeck
Sebastian Steinböck (b. 1983, Dachau, Germany) is a sculptor, painter, and installation artist currently based in Munich and Memmingen. His work is grounded in geometric abstraction and aims to reveal hidden layers of our environment by deconstructing complex systems into smaller, comprehensible entities. Through this process, he promotes a deeper understanding of the interconnected cycles and transformations that shape our lives.
Steinböck’s practice is rooted in analytical research and an interdisciplinary process that includes statistical analysis, 3D drawings with CAD software, and the development of models and prototypes. He frequently uses upcycled wood sourced from second-hand materials for his graphic panels and sculptures—both to conserve resources and to define the dimensions of his work. His style is marked by minimalism and a purist, monochromatic aesthetic. A key element in his visual language is raw carbon, used in various forms: powdered, dissolved in transparent acrylic, and layered onto surfaces. This technique allows him to explore the depth and complexity of dark surfaces while embracing carbon’s visual and conceptual significance.
Scientifically driven, Steinböck’s approach explores carbon as a fundamental building block of complex structures—while also addressing its associations with climate change. His geometrically abstract works aim to render themes such as optimized structures and man-made emissions more visually accessible, moving beyond abstract data. He creates space for environmental reflection, prompting a critical examination of material relationships and the hidden structures within them.
His artistic evolution has followed a series of conceptual phases. Initially, he focused on Platonic solids and their modifications to better understand geometric relationships—manifesting in 2D graphics and hybrids between sculpture and furniture. The tetrahedron, often symbolic of transformation and stability, became a central motif in his investigations into systems theory and evolution. His fascination with linear aesthetics is also evident in thread-based "line drawings," where embroidered polyester thread reveals a contrast between the ordered front and the chaotic reverse side.
A more recent series centers on geodesic spheres that reference human-generated CO₂ emissions, with segmented spherical forms presented as wall-mounted panels or hybrid anamorphic sculptures. Since 2024, Steinböck has also developed a more experimental body of work titled carbonICE. This series seeks to express environmental change through unpredictable processes: frozen carbon in a water-acrylic mixture is exposed to sunlight, and the resulting melt patterns form dynamic, fluid structures that reflect the instability of climate systems.
Water’s increasing threat—especially in vulnerable coastal areas—has also become a focal point in Steinböck’s work. In one series, he explores the structural and symbolic role of concrete tetrapods, which resemble the nodes of tetrahedral forms and are used for coastal defense. Despite their protective function, their production contributes heavily to CO₂ emissions. His Flying Tetrapods series, made from trash bags and tape, questions the paradox of waste generated in the pursuit of protection. Parallel to this, Climate Pods, a series of delicate ultramarine blue structures built from upcycled wooden slats, simulates the outline of tetrapods. Evoking fragility and impermanence, these crystalline forms function as symbolic barriers, urging viewers to consider more sustainable responses to rising water levels and ecological risk.
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Artist interview:
How would you describe your artistic practice?
In my practice as a visual artist, I integrate the disciplines of sculpture, design, and graphic painting. My analytical approach manifests as a dynamic process that oscillates between extensive research, statistical analyses, 3D drawings using CAD software, and the creation of models and prototypes. This time-intensive development process transforms the actual production of works into a meditative phase that allows for deeper interpretations.
What concepts appear consistently in your practice?
A central element of my artistic practice is carbon, which, poetically viewed, originated from supernova explosions in the universe, serves as a fundamental building block of life, and is crucial in the context of climate change challenges. I not only explore its manifestations at different scales but also incorporate raw carbon in powder form into my works.
What techniques or materials do you frequently use?
For my graphic panels and sculptures, I use upcycled second-hand wood. This resource-efficient approach also serves as a parameter for the dimensions of my works. Individual pages and chapters from outdated books on chemistry, physics, and geography are incorporated into smaller paper works, whose technical content aligns with my experiments in visual image generation. As a "color," which I consider a material as an artist, I utilize raw carbon—whether synthetically produced or derived from combustion residues—integrating its diverse color nuances as a key aspect of my artistic expression. The carbon is used in powdered form, dissolved in transparent acrylic, and applied in layers to the surfaces of my geometric sculptures and paintings. As I add more layers, the surface darkens, allowing me to create depth effects within the pieces.
Sebastian Steinboeck