he starting point of her paintings are small-format drawings that often emerge from a collage process in which shapes are added or removed. Throughout the transfer to larger-sized canvases, translation errors occur and are actually welcome: failure is not only always an option, but an integral part of Heinze’s images.
Her works depict scenes rife with fantastic encounters, composed of playfully transformative, and (a)sexual motifs. Themes such as psychology, social class, gender, sexuality, the nature and procurement of food, digestion and everyday weather exert a major impact on her work. Anti-achievement and impossibility are embedded in her iconography in the form of flaccid penises, flying carrots or melting creatures. Accordingly, she proclaims “newsense,” a kind of pseudo-optimistic invention of her own making, as a retort to nonsense. The artist looks for the unexpected and subversive into which she integrates the perverse. Her works oscillate between high and low culture, embracing failure as a necessity and a better way of being.