Tina Gillen

The paintings of Tina Gillen (1972) are rarely based on the direct observation of reality. She generally starts from existing images such as postcards, reproductions, film stills and, especially, photos she has taken herself. From this large collection of images she selects fragments and then transfers them onto her canvas.

By means of various painterly elements the distance from reality is increased even more. For example, a detail from an image is depicted in isolation against a uniform background, or it is abstracted so that it becomes almost unrecognisable. Certain parts of the painting are given a detailed finish, while in other areas the canvas is treated with rough brushstrokes or even dripped paint. All these interventions preclude a naive interpretation of the painting as a faithful reproduction of visible reality.

As far as the choice of subject is concerned, one is struck by the fact that Tina Gillen is fascinated with everyday architectural constructions and other artificial interventions man uses to shape his environment. Human beings rarely appear in her work. It is precisely because of this that you enter these abandoned sites and buildings in search of signs of their presence.

Instinctively the question rises as to the extent to which man is conditioned or even determined by the environment he has created. When it comes to form, there is often a tension between on the one hand the fact that the abstracted shapes fit in perfectly with the flat surface of the canvas, and on the other the knowledge that these shapes are also representations of spatial, three-dimensional constructions. This also underlines the unreal atmosphere these paintings exude. They show us that an alien world is concealed precisely in what is most familiar to us.

- Peter Pollers


13.02 to 01.05.2005
13.02 to 01.05.2005
13.02 to 01.05.2005
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