Express the inside
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| Selfportrait © Ina Riegler |
The first thing that came to my mind when I discovered Ina Riegler's work was that it was intense and impulsive, but at the same time a fruit of reflection. The idea of uniting reflection and impulsivity may seem contradictory, but this is not the case if the second is a consequence of the first. In my opinion, this is the case with Ina Riegler. She herself describes her current work as focused on human behavior. Here is where the first impression of impulsivity described above has total sense, then it is known that the subconscious dominates our behavior more than reason. Ina Riegler's view of society is based on her observation after working in the social field. It has also dealt a lot with psychological programs and social stereotypes, of which we are often slaves.
Ina Riegler was born in 1984 in Klagenfurt, Carinthia, Austria, and she shows us her view of the world through very honest paint traces and also gives us access to her deepest interior.
What does art mean to you?
Art is the most direct way for me to express my inner life. But it is also dealing with reality. I see myself as a universal self that is connected to everything and thus identifies with everything. Art is something very beautiful, valuable for me. Art can and should also be ugly. Some give me advice and say: "Ina, something nice". Well, reality is not always nice and the world is not just black and white. Of course, like every human, I strive for "beauty" or the construct of "beauty". But I do not always want to paint flower fields, that would be very boring. Art can also be difficult for me to define because everyone has their own construct of art, which in turn is in a certain paradigm. I do not want to define it, because a definition would destroy the beauty for me.
When and how did you begin to express yourself artistically?
I have been drawing and painting since I can hold a pen, so I started at the age of about 4 years. I was a very quiet, shy child, almost never spoke for various reasons. I suffered a lot and had painting as an outlet for my expression, it was a kind of survival strategy for me. I did not paint or draw continuously, there are also many phases where I did not do anything for a long time that could be called an artistic activity. I would have liked to study art, but that was not possible for me at the time. So unfortunately I have no training in this area, maybe I'll do one in my pension. Sometimes I also use other forms of expression, like collages or sculptures. I also play guitar and sing in a music band, mainly indie rock but also punk. Funny enough, writing lyrics and melodies often correlates with my paintings. But I actually started to paint more in 2017, so I had my first exhibition in Klagenfurt.
Which artists are your biggest references?
Of course, that changes over time. Lately, I have been mainly concerned with female painting. There are great painters from the 16th century, who have been excluded in the history of art for a long time. The feminist avant-garde of the 70s is great. My first contact with female art was Frida Kahlo many years ago, I love her. I like Maria Lassnig, Tamara de Lempicka, Alice Neel and Tracey Emin. I also love Sarah Lucas and Anna Koak. I also like Jonathan Meese, I love Georg Baselitz. I also like the universality of Leonardo DaVinci. And of course Pablo Picasso.
One of your work is called "Destroy Narratives". What could you tell about it?
"Destroy Narratives" is a whole series. When analyzing large group conflicts on a psychological level, collective narratives and myths are handed down from generation to generation. Collective narratives construct identity. In collective narratives, structural, symbolic and physical violence dominate. Zygmunt Baumann describes in "The Fear of the Other" the effect of negative narrative as a recruitment instrument of terrorist or extremist organizations and also refers to the instrumentalization risk by fundamentalisms and populism of various couleur.I want to destroy with my works just this rugged constructed narrative. These narratives must be destroyed to create new identities. I use this again and again in my work.
Another is called "Riding through the sea of patriarchy". What do you think about feminism and patriarchy?
I am already very feminist. I have theoretically dealt with a lot of feminist theories. The patriarchy must be destroyed in any case. I used to experience a lot of violence in the past and in my work I always see women fighting patriarchal power structures. In the work "Riding through the sea of Partriarchy" I want to show, and yes it is also autobiographical how difficult it is for women, no matter in which area, to prevail or to fight through. In my work, I often saw women in the "victim role" and they also did not get away so easily, or not at all anymore. Strong images of women are important to me and give me strength.
Ina Riegler was born in 1984 in Klagenfurt, Carinthia, Austria, and she shows us her view of the world through very honest paint traces and also gives us access to her deepest interior.
What does art mean to you?
Art is the most direct way for me to express my inner life. But it is also dealing with reality. I see myself as a universal self that is connected to everything and thus identifies with everything. Art is something very beautiful, valuable for me. Art can and should also be ugly. Some give me advice and say: "Ina, something nice". Well, reality is not always nice and the world is not just black and white. Of course, like every human, I strive for "beauty" or the construct of "beauty". But I do not always want to paint flower fields, that would be very boring. Art can also be difficult for me to define because everyone has their own construct of art, which in turn is in a certain paradigm. I do not want to define it, because a definition would destroy the beauty for me.
When and how did you begin to express yourself artistically?
I have been drawing and painting since I can hold a pen, so I started at the age of about 4 years. I was a very quiet, shy child, almost never spoke for various reasons. I suffered a lot and had painting as an outlet for my expression, it was a kind of survival strategy for me. I did not paint or draw continuously, there are also many phases where I did not do anything for a long time that could be called an artistic activity. I would have liked to study art, but that was not possible for me at the time. So unfortunately I have no training in this area, maybe I'll do one in my pension. Sometimes I also use other forms of expression, like collages or sculptures. I also play guitar and sing in a music band, mainly indie rock but also punk. Funny enough, writing lyrics and melodies often correlates with my paintings. But I actually started to paint more in 2017, so I had my first exhibition in Klagenfurt.
Which artists are your biggest references?
Of course, that changes over time. Lately, I have been mainly concerned with female painting. There are great painters from the 16th century, who have been excluded in the history of art for a long time. The feminist avant-garde of the 70s is great. My first contact with female art was Frida Kahlo many years ago, I love her. I like Maria Lassnig, Tamara de Lempicka, Alice Neel and Tracey Emin. I also love Sarah Lucas and Anna Koak. I also like Jonathan Meese, I love Georg Baselitz. I also like the universality of Leonardo DaVinci. And of course Pablo Picasso.
One of your work is called "Destroy Narratives". What could you tell about it?
"Destroy Narratives" is a whole series. When analyzing large group conflicts on a psychological level, collective narratives and myths are handed down from generation to generation. Collective narratives construct identity. In collective narratives, structural, symbolic and physical violence dominate. Zygmunt Baumann describes in "The Fear of the Other" the effect of negative narrative as a recruitment instrument of terrorist or extremist organizations and also refers to the instrumentalization risk by fundamentalisms and populism of various couleur.I want to destroy with my works just this rugged constructed narrative. These narratives must be destroyed to create new identities. I use this again and again in my work.
Another is called "Riding through the sea of patriarchy". What do you think about feminism and patriarchy?
I am already very feminist. I have theoretically dealt with a lot of feminist theories. The patriarchy must be destroyed in any case. I used to experience a lot of violence in the past and in my work I always see women fighting patriarchal power structures. In the work "Riding through the sea of Partriarchy" I want to show, and yes it is also autobiographical how difficult it is for women, no matter in which area, to prevail or to fight through. In my work, I often saw women in the "victim role" and they also did not get away so easily, or not at all anymore. Strong images of women are important to me and give me strength.
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| Riding through the sea of patriarchy Acryl on canvas, 50x60 cm © Ina Riegler |
And what could you tell us about "Capitalism destroys my face"?
Haha, the work I did in my school days, it is already very old. It is a collage. The work shows the connection between the violence of neoliberalism, communism and right-wing extremism. Above all, however, I criticized capitalism in this work because, in my opinion, it destroys much of it: nature as well as man. He also has an influence on the psyche of man, because every paradigm also produces his own mental illnesses; he transforms people into narcissists, because everyone has to survive on their own. Thus, he also destroys myself, in a universal sense.
There is a work called "I'm red". What does red mean to you?
Red is for me the color of the highest intensity. The first cave paintings are red, that's what I love. In some religions, it stands for the creation of humanity. I love the fire. Red also means strength, passion, struggle and attraction for me.
Why the title "Life and death when I was young"?
"Life and Death when I was young" is a work of my feminist Tryptichon. In this work I process my past. I got pregnant early at a young age and that was not easy for me. Of course it was also very nice to be pregnant, to give birth, to be a mother. There were many negative influences from the outside, which made me sad. At the time I felt very young and insecure, that's what I wanted to express. I also quoted death in this work because it is contrary to life. That's why the title.
Your paint traces are very intense and impulsive. Is that a mirror of your personality?
Of course. Everything I put on paper has to do with my personality as well. I am very impatient, even in my painting. But I'm working on it and my goal is eventually to have the patience to endure oil painting. My favorite remedy is sketches because they come "straight from the heart" and, so to speak, take the least amount of time.
Which new projects are you currently working on?
As soon as I have time I will work on another series for the "Vaginal 2019", initiated by Mag. Branko Andric. I will join in there and I am really looking forward to it. This is an international festival for feminist art in Vienna. The festival aims to promote feminism and feminist discourse as well as the artistic and scientific debate in Vienna. It is a festival of cultural studies on the topic of gender relations with a special focus on feminist perspectives and agendas in art, culture, music and literature.
Could you tell us a dream or a childhood memory?
My best imagination as a kid was the idea of being able to fly.
Haha, the work I did in my school days, it is already very old. It is a collage. The work shows the connection between the violence of neoliberalism, communism and right-wing extremism. Above all, however, I criticized capitalism in this work because, in my opinion, it destroys much of it: nature as well as man. He also has an influence on the psyche of man, because every paradigm also produces his own mental illnesses; he transforms people into narcissists, because everyone has to survive on their own. Thus, he also destroys myself, in a universal sense.
There is a work called "I'm red". What does red mean to you?
Red is for me the color of the highest intensity. The first cave paintings are red, that's what I love. In some religions, it stands for the creation of humanity. I love the fire. Red also means strength, passion, struggle and attraction for me.
Why the title "Life and death when I was young"?
"Life and Death when I was young" is a work of my feminist Tryptichon. In this work I process my past. I got pregnant early at a young age and that was not easy for me. Of course it was also very nice to be pregnant, to give birth, to be a mother. There were many negative influences from the outside, which made me sad. At the time I felt very young and insecure, that's what I wanted to express. I also quoted death in this work because it is contrary to life. That's why the title.
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| LOVE Acryl on canvas, 135x64 cm © Ina Riegler |
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Works from the series Life and death when I was young
Both acryl on canvas 60x160 cm
© Ina Riegler
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Your paint traces are very intense and impulsive. Is that a mirror of your personality?
Of course. Everything I put on paper has to do with my personality as well. I am very impatient, even in my painting. But I'm working on it and my goal is eventually to have the patience to endure oil painting. My favorite remedy is sketches because they come "straight from the heart" and, so to speak, take the least amount of time.
Which new projects are you currently working on?
As soon as I have time I will work on another series for the "Vaginal 2019", initiated by Mag. Branko Andric. I will join in there and I am really looking forward to it. This is an international festival for feminist art in Vienna. The festival aims to promote feminism and feminist discourse as well as the artistic and scientific debate in Vienna. It is a festival of cultural studies on the topic of gender relations with a special focus on feminist perspectives and agendas in art, culture, music and literature.
Could you tell us a dream or a childhood memory?
My best imagination as a kid was the idea of being able to fly.
An interview by Juan Carlos RomeroAll images and works by Ina Riegler
Courtesy of Ina Riegler
www.inariegler.com
All righs reserved
Courtesy of Ina Riegler
www.inariegler.com
All righs reserved