LORD OF MISRULE

Tina’s work offers testimony to an intense preoccupation with the political and social themes of our age and a shrewd observation of our gestures. Rather than interpreting this world as a strict antithesis to our above ground society, the subterranean caverns reflect it’s hidden internal structure. She ventures a way to demask society and attempts to give each player a moment of self-reflection that spurs them towards emancipation.

In two distinct ways Tina has struggled to amplify the content beyond the limits of the photographic medium – a struggle that her natural restlessness, her dissatisfaction with continuing to do something that she can (as saying goes) do only too well, as well as her curiosity about the resources of art that she has left untried. 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 and she has also tried to implicate the eye, thus enriched, into the very scene that it seems to record.

Learning, where this includes wanting to learn, not being afraid to learn, not being afraid to show that one has something to learn, is anyway a big theme in Tina’s work. Unter der Tage thematises in a provocative, unsettling and tangential manner what a worrying place life can be, but perhaps also, need not be.