Tina Winkhaus’s work is incomprehensible. A paradox, as her work is structured, clear. subversive, offensive, and feminist. True, and yet at the same time untrue. Through completed photos studies in Munich, New York and London, her work juggles collage, engraving, entropy, and indexicality. One gets the sense that Winkhaus has studied Barthes and Adorno. But there is more; digital, electrical fragments, manipulation and reference. Her pictures reflect back at us and give us a certain insight without which we would begin to doubt reality itself. Just one glance and the world dissipates into dust and glitter. She blends the hidden with the tasteless and manipulates both in a fully unscrupulous manner. A vehemency of initial impressions combined with consistent figures distinguishes Winkhaus amongst the international elite: idea, composition, post-production, the fusing together of dozens, if not hundreds, of large pictures taken separately, and ultimately what we perceive in them. Never having been interested in “snapshot” photography, she does not care about the perfect moment like so many others. Winkhaus displays pictures on her website that need no explanation. These images, eccentric and full of depth, cannot be captured in words. She looks towards musicians and fashion designers for inspiration, whether contemporary or from a bygone era. Strictly literal interpretations versus a personal point of view. Magic versus documentation. Art versus commerce. “What can certainly be said is that her art is not just a diary of a singlular eye” - Eugen Taran, 2008. Winkhaus has made a conscious decision to sell her art only on her own website. Consistently mixing the private with the public, art with commerce, strangeness with familiarity. Everything that is displayed is for sale. The artist decides who will own her pictures and where they will be exhibited.