from the catalogue: „His–Story“, 2011

 I have been following the work of Viennese artist Deborah Sengl for several years now. The use of paradoxical, bizarre but also humorous combinations in terms of material and meanings, coupled with great handicraft precision, also won me over because there is always, apparently quite by accident, a depth of content inherent in her works. It is usually deeply human weaknesses and actions that are given visual expression or an object form in her works, you only have to think of the »Wolf im Schafspelz« [ Wolf in Sheep’s Clothing ], one of her older works from 2003, or of the »Zebralöwen« [ Zebra Lion ], which represents one of the most important examples of young Austrian sculpture in the Essl collection. What is easy to take in at first glance in the art of Deborah Sengl, the surprise effect that sets in when you look at her works, appeals to many people. However, Sengl’s works are for this very reason considered to be one-dimensional or too easy to interpret. As if contemporary art can only be legitimised through systems of encryption with deep meaning. Not at all, because especially in the work of this artist, fundamental issues of human existence are dealt with, you could almost say in more of an Anglo-Saxon, quite un-Austrian manner.What in some places is fortunately perceived as a great achievement, namely that artists are in a position to surprise us in a way that can be quite entertaining, which is precisely why they can motivate us to reflect more deeply on the matter — this is something that people in these parts still find it difficult to accept.

 The daughter of Viennese artist Peter Sengl initially studied biology so that she would have an alternative means of support other than the fine arts. This can be seen in her wide interest in nature, in animals in particular, and in the relationship between animals / man. The fact that 
animals are used to represent human behavioural traits, ones that have usually been previously assigned to them by people (stupid goose, proud rooster, etc.) have been familiar to us from caricatures from the time of the French Revolution and from the 19th century onwards. But it is always fascinating to see how many human and also philosophical qualities can be expressed in this relationship — a broad field for Deborah Sengl, which she approaches with a very wide variety of techniques, usually in painting, sculpture or graphics, more traditional media therefore, and always in the same skilfully crafted high quality.Conceptually, the artist frequently works with the moment of irritation, connecting things that seemingly cannot be connected, and not just in the subject area of animal figures. A good example of this is the series »His — Story«. For some ten years now, Deborah Sengl has been processing Playboy »centrefolds« in order to visualise subjects such as consumption, beauty and luxury. In the new »His — Story« series (2010 / 2011), she examines the historical significance of these contemporary documents — known above all to male readers. Ever since the 50s to the present day, a different playmate has decorated the famous centrefold in this male magazine. Deborah Sengl has chosen a selection from the 60s and 70s and shows in her new works what at those same times has shaken up, worried or cheered up the world. The first manned moon landing, the Vietnam war, the Beatles splitting up or Kreisky’s most important election victory are juxtaposed with the ideal of beauty at that particular time.

 It is interesting to observe how much this Playboy artwork changes due to the graphical and colour reprocessing, yet the poses and props are almost accentuated by this. The male perspective of women as objects of desire is already very manifest, no amount of intervention will alter that. In the 60s and 70s of the 20th century, the so-called sexual revolution began with the advent of the pill, and the international feminist movement began to take shape.None of this can be seen from the poses of the women. They represent a woman’s role defined by men. Pretty girls present themselves to men, usually looking quite innocent. Because of the formal colour changes that also have a certain nostalgic charm, the women at first glance seem to be quite trendy, full of libido, like advertising icons from a time that was never so innocent as it purported to be in its graphic creations — particularly in the hippie period.

 Central political, social and cultural events of the time are »tattooed« by Deborah Sengl onto these images of women, peel-off pictures of male dreams — what seems to be private thus becomes public, the body serves as the backdrop for history dominated by men. Sengl names the series »His — Story«, and in this word play alone, the not-at-all trendy contents of her work become evident. A work that critically reflects this period in its much stronger male dominance compared to today, using the means of Pop Art — again apparently just incidentally. Parallels with our times, however remote from the 60s and 70s they may seem, cannot be ruled out …