Tina Winkhauses work is incomprehensible.
Thats actually amazing because her works are structured, clear. subversive and offensive and feminist. Tinas works wanders through completed photos studies in Munich, New York and London through the area of photography and juggles with their strategies: Collage, engraving, entropy, and indexicality. One gets the sense that Winkhaus has studied Barthes and Adorno. But there is even more ; digital, electrical fragments, manipulation and reference.
Her works reflects back at us and allows us a certain insight ,without which we would begin to doubt reality itself. Just one glance at a work from Winkhaus and the world dilapidates into dust and glitter.
Winkhaus blends the private with the tasteless and manipulates in a fully unscrupulous manner. She doesn’t need any allies, her enemies are her sword and shield.
She consistently mixes the private with the public, art with commerce, strangeness with familiarity. It is the vehemency of the first impression coupled with consistent figures that distinguishes Winkhaus amongst the international elite: Idea, composition, post production, the fusing together of dozens if not hundreds of large pictures that have previously been taken separately. And ultimately what we see in them !. Winkhaus has never been interested in “snapshot” photography, she doesn´t care about the perfect moment. She displays pictures that don’t need any explanation although there would be a lot of explanations. Her works are eccentric and cannot be captured in words. The artists that she has anything to do with are either musicians or fashion designers or have been dead for centuries.
Strictly literal interpretations versus a personal point of view. Magic versus documentation. Art versus commerce. “ What can certainly be said is that her art is not just a diary of a singular eye” ( EugenTaran) 2008