The Blind Angel
I always try to make pictures you won't forget in a few minutes. Every picture should tell you something. In this project I wanted to show our lives through the children, how, at the end, we all are humans.
It's hard to write about my own work, so here I give you a text a good friend of mine wrote about the 'Hope' pictures:
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.
The latest series Hope_Hoffnung has reached the level of expression which blends optimism and desperation in such a concoction that it almost hurts.
If she has not seen Paula Rego’s The Barn, this work is virtually an answer to it, the reccurence of the motif must be a sign that there is an alternative symbolic structure appropriate to the self-defying female (as distinct to feminine) imagination. By entering into the imagery of the bestiary of childhood, Tina discovered a new language in which to express her own status as unrepentant outsider and finally, once and for all, overcame the eclecticism of her artistic beginning, becoming virtually incapable of an ugly line or an inelegant juxtaposition and too sane to work at the obsessive space-filling that is typical of most outsider art.
It is not often given to women to recognize themselves in pictures, still less to see their private world, their dreams, the insides of their heads, projected on such a scale and so immodestly, with such depth and craft. Tina Winkhaus’ pictures are full of merciless kids, humorous animals and vessels of ambiguous content. Her art quivers with an anger and compassion of which we have sore need. Now that she has hit her stride, let us hope that she will run and run.
The latest series Hope_Hoffnung has reached the level of expression which blends optimism and desperation in such a concoction that it almost hurts.
If she has not seen Paula Rego’s The Barn, this work is virtually an answer to it, the reccurence of the motif must be a sign that there is an alternative symbolic structure appropriate to the self-defying female (as distinct to feminine) imagination. By entering into the imagery of the bestiary of childhood, Tina discovered a new language in which to express her own status as unrepentant outsider and finally, once and for all, overcame the eclecticism of her artistic beginning, becoming virtually incapable of an ugly line or an inelegant juxtaposition and too sane to work at the obsessive space-filling that is typical of most outsider art.
It is not often given to women to recognize themselves in pictures, still less to see their private world, their dreams, the insides of their heads, projected on such a scale and so immodestly, with such depth and craft. Tina Winkhaus’ pictures are full of merciless kids, humorous animals and vessels of ambiguous content. Her art quivers with an anger and compassion of which we have sore need. Now that she has hit her stride, let us hope that she will run and run.