Gabi trinkaus biography of rory and dean

Gabi Trinkaus calls herself a "media thief. Common poses, ideals of beauty, and commodity offerings are picked up and sampled in the large works. One finds, contrary to its intended use, a foot as a fragment of the ear, hair as lips, or brand names as components of the hair. Needles not only often used to fix the individual parts, but also serve as a metaphor for cutting into the body and wounding.

Instinctive omissions reveal the character of the body and psyche as injury in the fragmentation of the body or face. In so doing, the susceptibility, incompleteness, the unfulfilled wishes, and vulnerability of human existence become a central issue. In these makeovers of faces and bodies, Trinkaus generates a superficially perfect form, enticing the beholder into a visual trap, consciously using media and advertising iconography as bait for the first glance.

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

Explore Gabi Trinkaus’s biography, achievements, artworks, auction results, and shows on Artsy.

By borrowing from an aesthetic associated with the world of advertising, anonymous faces, and common poses, Trinkaus plays with the idea of seduction in her work. With the help of the collage technique, she creates a Frankenstein-like resurrection of the dissected advertising subject. Like layers of make up pealing away, the faces and bodies seem to dissolve and reveal the mask-like character of our daily life performances.

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

Biography Gabi Trinkaus was born in Graz in and studied at the University of Applied Arts in Vienna.

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

In the media, the illusion of purchasable beauty, style, and happiness is created that generates an atmosphere of wishing: everything becomes a commodity. Actual appearances, life models, or personal taste become secondary in realities in which plastic surgery is given its own television series and casting and celebrity shows are dedicated to the cult of stardom and beauty.

Brand names and their images offer orientation in the increasingly complex anything goes society and create a confidence in our own choice among various commodity offerings and their images.