Heide Hinrichs (1976, Oldenburg, Germany) is interested in the limits of the body, the transitional area between what belongs to the domain of the inner self and what we consider external. Her phenomenological investigation is expressed in drawings, objects and videos; that is to say that Hinrichs scrutinizes the matter of man's adopted position in the world. She makes an attempt to understand and describe the experience of that position, the relationship between one position and another, even the denial of that position. The body is portrayed as a form that holds different elements together, as a container in fact, but also as a form that is beseiged—touched or put under pressure. Literally and figuratively. The question is: how do our senses inform the body? This relates both to the physical impression that external factors have on the body and to a more abstract, immaterial influence on that body. Breathing, words, gestures: these can likewise be seen as transitions between the inner and the outer, and vice versa, between the outer and the inner.
In the works of Heide Hinrichs the senses are brought into the open as fragments, as parts of a greater whole. Hinrichs plays with scale and dimensions. The fragments that she shows in her work cannot simply be connected in a direct manner. The title 'Demisenses' refers, on one hand, to the temporal nature of the sensory experience and, on the other, to the need to generate a meaningful whole from all of those fragmented experiences. Actually the work of Heide Hinrichs deals with the body as a 'platform' of constant change. Hinrichs's Demisenses are like demigods: part of the eternal world of the gods and, at the same time, part of the transitory world of mortals.