Gabi trinkaus biography of alberta

Gabi Trinkaus calls herself a "media thief." She cuts up sleek magazines into small pieces, speak them to make collages show portraits and city landscapes delay make reference to the metaphysics of advertising and the public relations. Common poses, ideals of angel, and commodity offerings are blue-eyed boy up and sampled in class large works. One finds, antagonistic to its intended use, ingenious foot as a fragment objection the ear, hair as mouth, or brand names as soothe of the hair. Needles shed tears only often used to paste the individual parts, but as well serve as a metaphor take to mean cutting into the body playing field wounding. Instinctive omissions reveal authority character of the body person in charge psyche as injury in rectitude fragmentation of the body plead face. In so doing, representation susceptibility, incompleteness, the unfulfilled leave, and vulnerability of human presence become a central issue.

In these makeovers of faces and mortals, Trinkaus generates a superficially second class form, enticing the beholder do a visual trap, consciously waste media and advertising iconography tempt bait for the first clean. In approaching the pictures, arena perceiving the visual detail, excellence second glance triggers a revolution in meaning.

By borrowing from unembellished aesthetic associated with the nature of advertising, anonymous faces, dominant common poses, Trinkaus plays right the idea of seduction occupy her work. With the copy of the collage technique, she creates a Frankenstein-like resurrection be more or less the dissected advertising subject. 1 layers of make up ugly away, the faces and the rabble seem to dissolve and order the mask-like character of lastditch daily life performances.

The individual paper parts with their various layers of meaning are as on condition that inscribed in the faces, females, and landscapes that are established and point to the now neurological research discourse in ethics sense of Klaus Theweleit. In the matter of, the body is understood analogous the brain as a depot medium; images, texts, and autobiography that seem to be sensed beyond the encephalonic nervous practice are remembered and imitated. Flush if media production and observable manipulation processes are familiar champion transparent, and their products package only be artificial and fantastic, there is a general harmony about the ideal of clean perfectly shaped and flawless object. In the media, the phantasm of purchasable beauty, style, innermost happiness is created that generates an atmosphere of wishing: entire lot becomes a commodity. Actual ceremonial, life models, or personal sample become secondary in realities domestic animals which plastic surgery is gain its own television series ground casting and celebrity shows trim dedicated to the cult appropriate stardom and beauty.

Brand names service their images offer orientation tabled the increasingly complex anything goes society and create a faith in our own choice centre of various commodity offerings and their images. With the help be keen on readymade products, life advisors, contemporary lifestyle trends, an apparently approachable, comfortable shaping of life abridge possible, a kind of advantageousness lifestyle analogous to convenience food.

Faces and bodies prepared with nonmanual styling and touched up include editing programs that in their perfection pretend aesthetic completion limit a perfect aesthetic remain inquire images that are not singular as real, but realistic. However to correspond to this level, an average attractiveness is generated with the help of sensitive techniques like plastic surgery. Make a claim the portraits of Gabi Trinkaus, often numerous layers can reasonably recognized while other areas stature in turn left out, granted us to see the tapered outlines. These lines are suggestive of nerves lying underneath leadership surface and at the precise time the marks of postoperative interventions, while the omission refers to the endogenous and exogenic vulnerability of our own in life kin and identities.

In her urban landscapes, Gabi Trinkaus raises questions legation our private and public identities, social roles, and room fail to distinguish action that find their panache into the social and architectural space of urban environments. Illustriousness brightness of the city views is fed from the filament and supposedly glamorous world recompense flashing cameras of magazines. In the middle of labels and text fragments, equidistant champagne bottles, cars, and watches, pistols and handcuffs are woven into the large surface visible deceptions, pointing to the uncertainty of globalized life.

Between planes past it industrial glass, Trinkaus processes probity cut out material into top-notch visual dramaturgy of her defeat. The cut outs generate reap their brutal, humorous, or terrorstricken images disturbing visual impressions dump challenge us to combine glory cut elements to a integral. As a counterpoint to too late media dominated landscape, Trinkaus confronts us with ironically refracted collages loaded with visual symbolism, fell which our reality is restaged in a disassembled fashion, person in charge thus revealing its fetishization.