ᱵᱤᱥᱚᱭ ᱨᱮ ᱪᱟᱞᱟᱜ ᱢᱮ
Corinna Holthusen

✓ ᱯᱩᱨᱥᱠᱟᱨ-ᱯᱟᱨᱠᱷᱟᱭᱟᱠᱟᱱ ᱡᱟᱨᱢᱟᱱᱤ ᱯᱨᱚᱯᱷᱮᱥᱚᱱᱟᱞ

Corinna Holthusen

  • ✓ A' ᱰᱤᱡᱟᱭᱱ ᱮᱣᱟᱨᱰ ᱨᱮᱱᱟᱜ ᱡᱤᱛᱠᱟᱨ᱾
  • ✓ ᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ ᱰᱤᱡᱟᱭᱱ ᱨᱮ ᱵᱤᱥᱮᱥ᱾
  • ✓ ᱱᱟᱣᱟ ᱪᱮᱛᱟᱱᱤᱭᱟᱹ, ᱢᱚᱱ ᱞᱟᱹᱜᱤᱫ ᱟᱨ ᱱᱟᱣᱟᱴᱟᱨᱤ᱾
1ᱯᱩᱨᱥᱠᱟᱨ ᱠᱚ
№ 11,491ᱫᱩᱱᱤᱭᱟᱝ ᱨᱮᱝᱠ
№ 232ᱡᱟᱨᱢᱟᱱᱤ ᱨᱮᱭᱟᱜ ᱨᱮᱝᱠ
0ᱵᱤᱥᱮᱥ ᱠᱟᱹᱢᱤ ᱠᱚ

ᱰᱤᱡᱟᱭᱱᱟᱨ

Corinna Holthusen ᱵᱟᱵᱚᱫ ᱨᱮ

Upon completing her studies, Corinna Holthusen began specializing in the art of image processing. The themes of her works cover the convergence of beauty, disgust, artificiality and naturality. Using digital means, the artist shatters pictures of perfect faces and bodies to subsequently reassemble them through several physiognomies in order to haptically pry them open at the surface, ultimately also by means of material application, for example using acrylic paint. The persons depicted in her works never exist in this form. We believe to be seeing an everyday ideal of beauty, yet begin t question this given a different context.
Corinna Holthusen unsettles the viewer of her works by playing with the stylistic means of classical portraits and the idealization of the modern concept of beauty. The viewer recognizes the identity of the familiar aesthetic ideal, though manipulation is clearly visible. Corinna Holthusen's pictures challenge our human persona to critically examine and question the photographic images of perfection and beauty all around us.

ᱫᱩᱱᱤᱭᱟᱝ ᱰᱤᱡᱟᱭᱤᱱ ᱨᱮᱡᱤᱥᱴᱨᱤ ᱯᱟᱨᱠᱷᱟᱭᱟᱠᱟᱱ ᱥᱫᱚᱥᱭ

Corinna Holthusen ᱯᱨᱚᱼᱯᱷᱟᱭᱤᱞ ᱢᱤᱫ ᱧᱮᱞ ᱨᱮ

ᱫᱤᱥᱚᱢ
ᱡᱟᱨᱢᱟᱱᱤ
ᱮᱠᱟᱣᱩᱱᱴ ᱞᱮᱠᱟᱱ
ᱯᱨᱚᱯᱷᱮᱥᱚᱱᱟᱞ
ᱵᱤᱥᱮᱥᱜᱭᱟᱱ
ᱯᱷᱚᱴᱚᱜᱨᱟᱯᱷᱤ
ᱫᱩᱱᱤᱭᱟᱝ ᱰᱤᱡᱟᱭᱤᱱ ᱨᱮᱴᱤᱝ
ᱟᱜᱟᱢᱤ ᱚᱵᱷᱭᱟᱥᱤ
ᱥᱛᱚᱨ ᱞᱮᱠᱟᱛᱮ ᱯᱩᱨᱥᱠᱟᱨ ᱠᱚ
ᱞᱚᱦᱟ 1

ᱚᱠᱟ ᱨᱮ ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢ ᱮᱱᱟ

ᱯᱩᱨᱥᱠᱟᱨ ᱧᱟᱢᱮᱱᱟ

ᱰᱤᱡᱟᱭᱤᱱ ᱵᱤᱥᱟᱭ ᱠᱚ ᱡᱟᱦᱟᱝ ᱨᱮ Corinna Holthusen A' Design Award ᱡᱤᱛᱟᱣ ᱮᱱᱟ᱾

ᱯᱚᱨᱴᱯᱷᱚᱞᱤᱭᱚ

ᱵᱤᱥᱮᱥ ᱠᱟᱹᱢᱤ ᱠᱚ

ᱱᱤᱛᱚᱜ, Corinna Holthusen ᱨᱮᱭᱟᱜ ᱡᱟᱦᱟᱱ ᱠᱟᱹᱢᱤ ᱟᱞᱮ ᱫᱮᱠᱷᱟᱣ ᱵᱟᱝ ᱫᱟᱲᱮᱭᱟᱜ ᱠᱟᱱᱟ᱾ ᱱᱚᱣᱟ ᱫᱚ ᱥᱟᱹᱨᱤ ᱛᱮᱛᱮ ᱞᱟᱭᱥᱮᱱᱥ ᱵᱟᱝ ᱢᱮᱱᱟᱜᱼᱟ ᱟᱨᱵᱟᱝ ᱠᱟᱹᱢᱤ ᱠᱚ ᱫᱚ ᱞᱩᱠᱟᱣ ᱵᱤᱥᱟᱭ ᱨᱮ ᱢᱮᱱᱟᱜᱼᱟ᱾ ᱞᱩᱠᱟᱣ ᱵᱤᱥᱟᱭ ᱠᱚ ᱫᱚ ᱯᱮᱴᱮᱱᱴ-ᱯᱮᱱᱰᱤᱝ ᱯᱨᱚᱰᱟᱠᱴ ᱠᱚ, ᱵᱟᱝ ᱩᱫᱩᱜ ᱪᱩᱠᱛᱤ ᱛᱟᱞᱟᱨᱮ ᱰᱤᱡᱟᱭᱤᱱ ᱠᱚ, ᱢᱤᱰᱤᱭᱟ ᱮᱢᱵᱟᱨᱜᱚ ᱛᱟᱞᱟᱨᱮ ᱠᱟᱹᱢᱤ ᱠᱚ, ᱵᱮᱯᱟᱨ ᱜᱩᱯᱛᱤ ᱟᱨ ᱜᱚᱯᱟᱱᱤᱭᱟ-ᱨᱟᱠᱷᱟᱠᱟᱱ ᱯᱨᱚᱡᱮᱠᱴ ᱠᱚ ᱞᱟᱹᱜᱤᱫ ᱨᱟᱠᱷᱟ ᱦᱩᱭᱩᱜ ᱠᱟᱱᱟ᱾

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ᱰᱤᱡᱟᱭᱤᱱ ᱵᱤᱥᱟᱭ ᱞᱮᱠᱟᱛᱮ ᱨᱮᱝᱠᱤᱝ ᱠᱚ

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