F R I E N D L Y ⋅ F I R E


The destruction of the space through sculptural actions reoccurs in his work as the predominant motif. However, his work -often walkable spaces manifesting the incisions
and splitters remaining from his performative interventions- bear little aggression. Instead, the viewer is left bewildered, indecisive on what has been
perceived: an act of force, a naïve play or a nihilist statement. Thomas Trinkl is keen to remain ambiguous. The devastated space harbors violence in all its
nuances, intertwining layers of play and political rigor, boredom and physical endeavor.
Always bearing in mind the historical and contemporary meaning of the given space, Thomas Trinkl’s interventions glimpse simultaneously at the past and
the present. They recall historical dark zones, as they cynically portray destruction as a rhythmic and repetitive pattern, which we are asked to decrypt in
order to surmount it.
As much as his spatial interventions incite criticality, as much does Thomas Trinkl produces artworks that are self-contained. Obsessively delicate in the
choice of materials and steadily alert to involve the auto-extensions of his actions (e.g. the falling glass shreds that establish a sculptural form through its own
gravity and shattering), he stirs aesthetics of destruction, which are, on an artistic level, thoroughly pleasurable to look at.

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