At the beginning Mandarina mainly wanted to react with socially-political statements to the harm and the helplessness of individuals which she perceived in states of war like in Ex-Yugoslavia or Iraq. She often uses the cynical or critical combination of ambiguous image or text material: A child embracing a bomb is supertitled with the letters »I.N.R.I« or a helicopter is signified with »Mich schickt der Himmel« (»Heaven has sent me«). A strong political-feminist impact can be found in the appropriation of motifs taken from historical art works like a Madonna furnished with a gas mask or a dog on a leash, as well as Titian’s »Lying Venus«, who is giving the viewer the finger or the well known Venus by Boticelli now suddenly lifting dumb-bells upon her head. With the irritating abstraction and re-contextualisation of kitschy or uncanny images as well as representations of the female body, all usually distributed a lot by the media, the artist succeeds in subversively attacking blunted perceptual patterns. Because of Mandarina’s interest to use her stencils on different supports, she started creating T-Shirts, skirts and other clothes, which she sells in her on shop »The Hot Dogs« since 2005. Recently she has been booked a lot for the design of large interior spaces, which corresponds well to her aim to work more conceptually and with larger formats than it is possible in the streets. Popular characters like the “Flying pigs” which never will be caught or the »Genesis of the World« (a girl blowing soap bubble-globes) spread a more positive and cheerful spirit than the earlier representations of war scenarios. For the characters she uses her own drawings, photography, partly with herself posing for them, as well as found image material from the mass media. Her style is often compared with or even mistaken for the work of the British artist Banksy, with whom she cooperated in an exhibition in Vienna in 2005. (Text by Elisabeth Fritz)