'Shoot now, focus later'
1.) Unter Tage, 2011, different sizes, all pictures Metallicprint behind 4mm acryl.
2.) Eternal Sadness, 2009, 110x110, framed
3.) New Romantic, 2008-2010, to be continued, different sizes, metallicprint behind 2,, acryl
4.) It's all shitty, 2011, work in process
5.) Hope, 2007, 120cm x 120cm, metallicprint behind 4mm acryl
6.) Sorrow, 2010, 110x110, framed
7.) Disperates_ Inspired by Goya, 180cm x 180cm, 2005
Tina Winkhaus
The last seven or perhaps five years of Tina Winkhaus’ art are, actually clear only in outline. They present a broad pattern, but we are no longer able to plot her evolution month by month, grasping what came after what and seeing the reason. What can certainly be said is that her art is no longer just a diary of a singular eye. In two distinct ways Tina has struggled to amplify its content – a struggle that her natural restlessness, her dissatisfaction with continuing to do something that she can (as saying goes) do only too well, as well as her curiosity about the resources of art that she has left untried, have sometimes helped, sometimes hindered… The two ways in which Tina has tried to extend her art are these: she has tried to enrich the visual findings of the eye with a depth of feeling to which she couldn’t reach as a younger woman, and she has also tried to implicate the eye, thus enriched, into the very scene that it seems to record. At times the two aims pull apart. For instance, Tina’s most impressive attempt to increase the expressive power of her work is undoubtedly the Little Red Riding Hood, which she executed in early 2004. What the technique of this series in effect amounted to is that the figures, the props and the backgrounds were shot separately and the whole image brought into existence within a projective system other than linear perspective. The series has an extraordinary emotional charge. But the emotions are solitary emotions: they are loneliness, hopelessness and anxiety. In this respect, the Little Red Riding Hood (along with Mensch-Maschine, Self-portrait and Heroes series) form a path that leads away from the more involved, the more participatory, art that Tina was simultaneously trying to construct. One of the most touching works of the latter is Disparates – a free form improvisation upon Goya’s Cappriccios, bold, dark, nearly monochrome five-piece series which definitely represents Tina as someone trying to learn from life. Learning, where this includes wanting to lea
