2017 Kitchen Gods (two person exhibition with Priya Kambli
2015 Things of This World Keeping Their Difficult Balance  solo exhibition
2014 Bettina Speckner + Daniel Spoerri @ Schmuckmuseum Pforzheim
2011 Solo Exhibition | A Rose is a Rose is a Rose
2006 Solo Exhibition | The Everyday and Faraway

Bettina Speckner doesn’t like to talk about her work. When pressed, she speaks of process, or of the parts that compose the whole, in terms of universals of form, color, and structure. Not an unusual response from a jeweler, except that most of Speckner’s work involves mediation of psychologically super-charged photographic images, preciously worked materials, and carefully considered comments on adornment. Photographs inevitably invite speculation and interpretation and each piece offers seductive opportunities to communicate narrative or suggest emotional content. However, in most of the work the image is her subject only as it functions related to its own disruption and abstraction.

The photographically based work, particularly those pieces that incorporate portrait ferrotypes, reflect Speckner’s primary struggle with the inherent authority of the photograph. In The Power of Images David Freedberg speaks of the power of the “accurate image” in reference to legends surrounding portraits “unmade by the human hand.”… The existence of these images is proof of the miraculous, conferring credibility. As the direct heir to this phenomenon, the photograph allows us to believe in events, visit sites and enter spaces occupied by people we have never met. More than evidence, the photographic portrait is a document, bearing witness and demanding respect…While the ferrotype was a common product of the industrial revolution, it may have accrued some of Benjamin’s famous “aura” in the last hundred years or so. The specific identity of the individual has been lost over time, becoming instead a signifier of a lost culture. Our response to these images may also reflect a conditioned nostalgia, generated by films and romantic literature and filtered through the mechanisms of popular culture. Speckner’s approach to her “loaded” materials has to contend with both implications.

Each piece is the record of a complex negotiation between the artist and the shifting elements of a visual conversation. Her tools are formalism, abstraction, and a strong sense of visual integrity. She is aware of the documentary authority of the photograph and works with that quality in very specific ways.

Kate Wagle, excerpts from Bettina Speckner, Deliberations and Negotiations. Metalsmith 26.2