Explorations

These works are part of an ongoing period of exploration for a larger project I am planning for the coming winter and into next year. The project looks at my intercultural experience between Austria and the Philippines, and at both my Filipino and Austrian/European roots. I am interested in questions of identity, belonging, heritage and what we inherit from the people and places we come from.

I am especially interested in the parts of a heritage that are fragmented, withheld, forgotten, or simply no longer possible to fully recover. What happens to knowledge, memory, wisdom and family stories when the connection to the past is interrupted? How do we build a sense of belonging when parts of where we come from remain unclear or out of reach?

Starting from my own experience, I want to open up a wider conversation around in-between identities, diaspora, cultural heritage and the lasting effects of colonial histories. We live in a globally connected world, but this connection does not necessarily mean that people have equal access to their own histories or cultural knowledge.

The works shown here are early studies and experiments connected to this research. They are a way of beginning to give the project a visual language and to work through some of its questions before developing the larger body of work.

brown hands air dry clay and acrylic a hand sculpture that is not just white.	baybayin stamp carved rubber stamp written in baybayin, a pre-colonial writing system from Luzon.	first burn an art piece imagining one of my anchestors starting the cylce of non healed intergenerational and cultural trauma. it was most likely forced on them. but it is still not healed.
baybayin stamp it's my stylized first name: Babette.	11000km white and brown. and my hands can be both: pretty bright in winter and pretty dark in summer. my mother was always horrified of them being dark. i look like an Igorot she said. my father did only care about that my hands followed his lead.	11000km they always told me a love story when talking about how they met. in a café where he asked for the way and she showed it. half a year later they were married. a story of devotion. between the lines I understood, it was one of blind expectations, legacy, sacrifice and regret.
brown hands modelled after my hands which were always called "workers' hands" by my mother.	11000km 11000km. this distance would have not been easily mastered in any other time. not by a mere working class man and a poor farmer's family woman. our world and time made it possible. and we tend to romatize it.	first burn it is painted with the image of a family member of me as a reference. she might not like it.
11000km legacy. that is their contract: to make sure that they both get something out of their connection. woman and man. wife and husband. and their legacy. you can read what they promised to give for it on all 11 meters of the art piece.	badlit and tattoos some badlit letters and some visayan tattoo symbols. badlit is a pre-colonial writing system by the Visayan people.	bown hands I want to believe that those hands uplift and hold the world. they are warmer and more welcoming than the world they see every day.
baybayin stamp i wonder what those letters and symbols would leave as a mark on me.

Hinterleitner EXPRESSIONS

Explorations

brown hands

air dry clay and acrylic a hand sculpture that is not just white.

baybayin stamp

carved rubber stamp written in baybayin, a pre-colonial writing system from Luzon.

first burn

an art piece imagining one of my anchestors starting the cylce of non healed intergenerational and cultural trauma. it was most likely forced on them. but it is still not healed.

baybayin stamp

it's my stylized first name: Babette.

11000km

white and brown. and my hands can be both: pretty bright in winter and pretty dark in summer. my mother was always horrified of them being dark. i look like an Igorot she said. my father did only care about that my hands followed his lead.

11000km

they always told me a love story when talking about how they met. in a café where he asked for the way and she showed it. half a year later they were married. a story of devotion. between the lines I understood, it was one of blind expectations, legacy, sacrifice and regret.

brown hands

modelled after my hands which were always called "workers' hands" by my mother.

11000km

11000km. this distance would have not been easily mastered in any other time. not by a mere working class man and a poor farmer's family woman. our world and time made it possible. and we tend to romatize it.

first burn

it is painted with the image of a family member of me as a reference. she might not like it.

11000km

legacy. that is their contract: to make sure that they both get something out of their connection. woman and man. wife and husband. and their legacy. you can read what they promised to give for it on all 11 meters of the art piece.

badlit and tattoos

some badlit letters and some visayan tattoo symbols. badlit is a pre-colonial writing system by the Visayan people.

bown hands

I want to believe that those hands uplift and hold the world. they are warmer and more welcoming than the world they see every day.

baybayin stamp

i wonder what those letters and symbols would leave as a mark on me.

CONTACT

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