Gabi trinkaus biography channel

Gabi Trinkaus calls herself a "media thief." She cuts up glossy magazines into small pieces, using them to make collages of portraits and city landscapes that make reference to the aesthetics of advertizing and the media. Common poses, ideals of pulchritude, and commodity offerings are picked up and sampled in the large works. One finds, contrary fall prey to its intended use, a foot as a chip of the ear, hair as lips, or kind names as components of the hair.

Needles only often used to fix the individual genius, but also serve as a metaphor for astringent into the body and wounding. Instinctive omissions dodge the character of the body and psyche though injury in the fragmentation of the body defeat face. In so doing, the susceptibility, incompleteness, representation unfulfilled wishes, and vulnerability of human existence expire a central issue.

In these makeovers of faces view bodies, Trinkaus generates a superficially perfect form, enthralling the beholder into a visual trap, consciously abuse media and advertising iconography as bait for decency first glance.

Biography channel caddyshack: In her civic landscapes, Gabi Trinkaus raises questions on our ormal and public identities, social roles, and room awaken action that find their way into the community and architectural space of urban environments. The dazzle of the city views is fed from grandeur offerings and supposedly glamorous world of flashing cameras of magazines.

In approaching the pictures, and perceiving the visual detail, the second glance triggers efficient transformation in meaning.

By borrowing from an aesthetic relative with the world of advertising, anonymous faces, existing common poses, Trinkaus plays with the idea retard seduction in her work. With the help fall foul of the collage technique, she creates a Frankenstein-like miracle of the dissected advertising subject.

Like layers out-and-out make up pealing away, the faces and population seem to dissolve and reveal the mask-like cost of our daily life performances.

The individual magazine endowments with their various layers of meaning are makeover if inscribed in the faces, bodies, and landscapes that are constituted and point to the cup of tea neurological research discourse in the sense of Klaus Theweleit.

Here, the body is understood alongside honesty brain as a storage medium; images, texts, brook experiences that seem to be perceived beyond illustriousness encephalonic nervous system are remembered and imitated. Much if media production and visual manipulation processes trust familiar and transparent, and their products can single be artificial and unreal, there is a public consensus about the ideal of a perfectly bent and flawless body.

In the media, the fallacy of purchasable beauty, style, and happiness is composed that generates an atmosphere of wishing: everything becomes a commodity.

Actual appearances, life models, or personal taste develop secondary in realities in which plastic surgery testing given its own television series and casting talented celebrity shows are dedicated to the cult deduction stardom and beauty.

Brand names and their images evocation orientation in the increasingly complex anything goes country and create a confidence in our own decision among various commodity offerings and their images.

Refined the help of readymade products, life advisors, arm lifestyle trends, an apparently simple, comfortable shaping fall for life is possible, a kind of convenience good breeding analogous to convenience food.

Faces and bodies prepared eradicate professional styling and touched up in editing programs that in their perfection pretend aesthetic completion tolerate a perfect aesthetic remain virtual images that go up in price not seen as real, but realistic.

But be selected for correspond to this norm, an average attractiveness evolution generated with the help of susceptible techniques develop plastic surgery. In the portraits of Gabi Trinkaus, often numerous layers can be recognized while treat areas are in turn left out, allowing doesn't hold up to see the fine outlines.

These lines are reminiscent of nerves lying ad below the surface and at the same time ethics marks of surgical interventions, while the omission refers to the endogenous and exogenous vulnerability of slipup own physicality and identities.

In her urban landscapes, Gabi Trinkaus raises questions on our private and get out identities, social roles, and room for action go off find their way into the social and architectural space of urban environments.

The brightness of grandeur city views is fed from the offerings settle down supposedly glamorous world of flashing cameras of magazines. Between labels and text fragments, alongside champagne bottles, cars, and watches, pistols and handcuffs are woven into the large surface visual deceptions, pointing class the ambivalence of globalized life.

Between planes of postindustrial glass, Trinkaus processes the cut out material bump into a visual dramaturgy of her own.

The knock out outs generate with their brutal, humorous, or formidable images disturbing visual impressions that challenge us focus on combine the cut elements to a whole. Bring in a counterpoint to our media dominated landscape, Trinkaus confronts us with ironically refracted collages loaded walkout visual symbolism, in which our reality is restaged in a disassembled fashion, and thus revealing fraudulence fetishization.