Gabriele Seethaler – a second identity as photographer
view inside – an experiment
Scientists, in their experiments, search for the answers to their questions as do the artists. Gabriele Seethaler is equally at home in the precise world of science as in the uncalculable and intuitively driven world of art. One of life’s major questions is „Who am I?“ How do I differentiate myself from others, where lies my individuality. Michel Foucault states „we should start out, establish and arrange ourselves as works of art“. Which consequently leads to the „aesthetics of existence“, to the art of living.
Gabriele Seethaler’s strength in artistic design lies in the settings and expressions of the medium i.e herself. Her first self portraits evolved playfully in nature, far from the laboratory. New ideas and combinations developed randomly. By decomposing and expanding the visible outside World, Gabriele Seethaler is able to show in a lengthened moment of truth her „other side“. Experimental self exploration leads to self fabrication. With this newly discovered view inside herself she works scientifically and single-mindedly on her artistic concept. Her new definition of the classical term of the self portrait breaks the boundaries of photography leaving us with the mystification of the artist and her works.
The innovation of the 90‘s aesthetical pluralism involves the integration of one’s own surroundings; the theme of art becomes one’s own life. Creativity surfaces from Gabriele Seethaler in her own perception of reality which she stages in her photographic works as the true aesthetical moment. This is demonstrated in the poesy of the series entitled „Metamorphosis“ as well as „Dualité“ where each individual „otherside“ reveals its own personality; this is also shown in the fine splits of many of her self portraits.
In her artistic practice she uses all objects present around her: a wooden chest in a hotel room, the boiler-room in her home, hands hiding a face, nature. Graphic elements are achieved through the deminishing and accentuating of light until the structure is visible as construction plan of the desired object (eg. a face).
Gabriele Seethaler
defines a new and individual relationship towards the body (her own) and finds
herself with this theme and her artistic interpretation in the ranks of
Neo-Avant-gardism. What is important is the artistic action, to take your life
in a new way in your hands and give shape to your personal perception.
Ulrike Guggenberger, 1999
Photography, Biology and
Abstraction:
a convergence of images
Gabriele Seethaler, GABI, has been a scientific colleague and friend for
more than ten years; we met first at a scientific conference near
After obtaining her doctorate, Gabi held a research position at the
Biologists who study the structure and organization of cells often spend
many hours, looking down a microscope probing the inner workings of the
cell. What they observe is a vast array of exquisite shapes, colors and
structures. When tissues are prepared for microscopic examination and stained
appropriately, the cells and components within them react with specific
dyes. The cell staining, their shape, number and arrangement gives a
tissue its characteristic features. The great cellular anatomists of the
late nineteenth century appreciated that these patterns indicated specialized
functions. In the last ten years, computer-imaging techniques have
revolutionized how microscopes are used. The combination of computers
with new reagents that enable scientists to examine the localization of
individual molecules inside cells, has generated images not seen
previously. Exquisite three-dimensional rotating shapes can be generated
on a TV screen. Not only do the images provide important scientific
information, they also have an artistic and aesthetic quality in their own
right. These pictures are spectacularly impressive. Observing
individual groups of molecules and the patterns they form within the cell often
generates a seemingly random, abstract image which to the untrained eye may
appear chaotic. But this is not the case. The structures are real,
exciting and often beautiful; they hint at a greater whole and provide tantalizing
insights into the fabric of life. From apparent randomness there is in
fact symmetry, order and beauty.
Similar to microscopy, photography can capture images that exactly represent
the appearance of an object. Yet Gabriele Seethaler is not satisfied with
stylized representations of an objects or person's physical appearance.
She wants to delve into their very essence, to understand their structure, how
they are organized and to dissect the components from which they are
composed. Dr. Gabriele Seethaler was trained as a Molecular and Cell
Biologist; she appreciates that apparently abstract shapes and unconnected
images can be part of a highly organized structure. The very essence of
scientific endeavor is to analyze fragments of information in isolation, and
then the scientist tries to synthesize the "big picture". This
theme is apparent in many of her photographs. Clear and distinct images
merge into wispy ill-defined impressions that become increasingly abstract and
less tangible yet retain a sense of reality. Her photographs transcend
reality and provide images that only hint at the original shape and
structure. These challenge and provoke us to delve into the meaning of an
image; to ask why and how it has a particular shape, color or form. They
leave us wanting to know more about the picture; they are tantalizing.
Her large multiple repeating images recapitulate the ordered patterns seen in
various cells and sub-cellular structures. This convergence of biology,
art and photography enables Gabriele Seethaler to generate pictures that
possess a surreal quality; she was trained originally as a professional
scientist and her approach is unique: she produces exciting, novel and
innovative images that provide a refreshingly different perspective on the
world.
Dennis Shields, Professor,