Alina Frieske’s interest is focused on the assembled image and its classification. With collage and illustration techniques she reflects on visual sourced online images and explores the process between individual and collective viewpoints. Her work evolves at the intersection between photography and painting,

In Each and Every Part in Between Alina Frieske examines the relationship between public and private identities and the circulation of the snapshot. Through the use of collage techniques, the work deals with the understanding of online profiles as a place where personal interests and social interactions are stored and recorded. The basis for the work is an extensive collection of images sourced from the unlimited flow of selfies and mobile phone uploads on social media. The day-to-day photos, cut into ever smaller fragments, serve as a color palette and brush stroke in the digital composition.

https://collectordaily.com/alina-frieske-each-and-every-part-in-between/
“One of the exciting byproducts of the digital revolution in photography has been a further softening of the definitional endpoint of an image, thereby opening up new avenues for photographic recycling and reusability. For most of the history of the medium, when a photograph was printed, it was considered “finished” in some manner. Montage, collage, and later photocopy artists then came along and took those finished pictures (or reproductions) and used them as raw material for entirely new artworks, physically editing the negatives and prints and repurposing the underlying imagery.
But with the advent of computationally-driven photography and software-based manipulation, essentially any digital photograph, found on your own camera or on the wide expanses of the Internet, can now be freely repurposed, and the power and flexibility of the possible edits and transformations that can be applied to that source image have expanded tremendously. So it stands to reason that a new cohort of artists would eventually emerge that would take this reality as a starting point, making works that leverage these more powerful and wide-ranging possibilities.
The German artist Alina Frieske has stepped into this promisingly undefined world and tried to craft her own path forward. Using digital photographic fragments as her primary medium, she has created a series of serenely understated portraits and still life observations, digitally building up her compositions from scavenged shards she arranges like the individual brushstrokes of a painting. And so we immediately get caught up in the limits of conventional vocabulary to describe her resulting works – they might indeed be photographs, or digital collages, or Photoshop art, and if we turn our heads around the fact that no paint is actually involved, then they might even be paintings.”