Karin van Pinxteren’s works interrogated one of the most human of tendencies--making meaning through pereception, and especially the meaning of that in an era of sensory control where sensory trust is being eroded. studied at the Hogeschool voor de Kunsten in Breda. She makes installations, performances, video, two-dimensional work. More recently, she has started writes contemplative texts on her Nightportier blog and makes short poetry.
‘You see the other person, you are yourself, on the other hand you can only see yourself completely in the mirror. In conclusion, one’s own existence is reasonably invisible while the existence of others is entirely in the picture. This creates the will to reflect and communicate that are ways to make your own existence concrete. Attempts to synchronize follow attempts to synchronize. Because of the impossibility of this, because we are never on the same wavelength, not with the other person and not with the self, it turns out to be infinite movements.’
In her work van Pinxteren basically seeks out perspectives of the gaze and its focus set within relational structures. Valongs for openness, for a deeper trust in our environment that should begin with a more profound understanding and a shift in perspective, altering the foci from the system’s point of view while simultaneously including open-ended personal whereabouts. Presently she explain this sum she addresses bodily motivations such as longing for contact, for understanding, for saturation – essentially elements of giving oneself to another – that are catalysed by the power of aesthetic representation. It is within this playfield that aesthetics opens up to an ethics of personalised wonder and exchange. The organics of the theatre are set by the symbolic order, carried away by aesthetic encounters that establish fragile, open and truthful statuses.
In 1999, van Pinxteren started her artistic practice creating various performances and installations. In 2001 she made a performance at the Stedelijk Museum Aalst [B] and in 2002 at Museum De Beyerd in Breda [NL]. In 2003 she was invited by Museum van Bommel van Dam Venlo (NL) to pa In recent years, Pinxteren has also focused on writing alongside her visual work and starts in 2013 with her Nachtportier (Night Porter) blog – ideas of a visual artist. She publishes the book ‘Sofa Journal’ in 2015 with a collection of drawer and written diary notes, in 2016 the publication ‘Traagschuim’ will follow. Writing and visual art are coming together more and more. Karin is represented by Twelve Twelve gallery in The Hague