Liz Cohen, a 37-year-old artist and photographer, has spent eight years challenging automotive norms and perceptions of car interiors. Moving beyond the typical bikini-clad models of auto shows, Cohen, featured in the New York Times and other publications, has immersed herself in body shops, not just to admire cars, but to build one – a custom hybrid that redefines what we consider the essential parts of a car’s interior, even if in an unconventional, artistic way. Her creation, the Trabantimino, currently showcased at the Salon 94 Gallery, is more than just a vehicle; it’s a commentary on car culture and design, pushing boundaries and expectations.
A Hybrid Born from Contrasts
The Trabantimino is a fascinating amalgamation of two very different automotive worlds. Half of it is derived from a Trabant, the iconic, if basic, car of Soviet East Germany, a vehicle as symbolic of a bygone era as the Berlin Wall itself. The other half springs from a 1973 Chevy El Camino, an American classic that blended the styles of a muscle car with the practicality of a pickup. This unlikely pairing results in a vehicle that can transform its very form. By manipulating switches on the center console – a key area when discussing parts of a car’s interior – the driver can extend the Trabantimino’s compact body to the full length of an El Camino. Further sets of controls allow for the raising of the rear wheels to dramatic heights, reminiscent of lowrider culture, and the elevation of the front end, altering the car’s stance and profile entirely.
Experiencing the Trabantimino’s Transformative Interior
Operating these controls is an experience in itself, described as akin to riding a mechanical bronco. This interactive aspect arguably makes engaging with the car more captivating than simply driving it. However, piloting the Trabantimino presents its own set of ergonomic challenges. The artist herself, Liz Cohen, designed the parts of the car’s interior with a focus on the mechanical transformations, leading to a somewhat compromised driving space, especially for those not of petite stature. During a test, reaching the steering wheel proved difficult, and legroom was minimal. Yet, the dramatic movements and expansions of the car evoke a sense of childlike joy, a thrilling ride within an art piece.
The necessity to house the car’s complex hydraulics and a powerful V-8 engine within the combined frame meant that Cohen had to make sacrifices in the parts of the car’s interior typically associated with passenger comfort. Traditional expectations of a back seat and generous legroom were forgone. However, this was a deliberate choice, prioritizing the artistic vision over conventional automotive practicality. Despite these functional compromises, the Trabantimino is undeniably aesthetically pleasing. It features comfortable leather bucket seats, a touch of luxury amidst the mechanical marvel, and importantly, it is certified road-worthy. The unique experience of being inside and interacting with this vehicle makes it captivating, even if exiting requires a jump back to ground level, a testament to its unconventional design.
From Panama to Detroit: The Journey of Creation
The concept for the Trabantimino began a decade prior in Panama. Cohen’s interactions with a group of sex workers sparked her interest in exploring themes of belonging within disparate social groups. This exploration led her to delve into car fanatic culture and the world of pin-up models. The journey to create the Trabantimino started with the purchase of a Trabant in Berlin in 2002. Cohen’s early engagement with the car involved performance art, posing with it in a bikini at the former assembly plant, a site of industrial history turned ruin. She envisioned the Trabant, a “people’s car” with its unpretentious design and plastic body, as the ideal partner for the El Camino, an equally all-encompassing American vehicle.
Combining these two vastly different cars was, by her own admission, likely “insane.” Nevertheless, Cohen transported the Trabant to a lowrider custom body shop in Oakland, California. There, she integrated herself into the shop’s culture and initiated the car’s transformation. It was during a four-year teaching position in Scottsdale, Arizona, however, that the project truly accelerated. She apprenticed under master mechanic Bill Cherry, who entrusted her with his tools and workshop. Initially met with skepticism by the rest of the shop crew, Cohen’s dedication and skill quickly shone through. She not only mastered the mechanical challenges but, by her own account, became the most skilled mechanic in the shop, barring Cherry himself.
As a gesture of gratitude to Cherry, Cohen created a collection of 150 black-and-white photographs documenting his hand tools, a testament to craftsmanship and expertise. These photographs, alongside the Trabantimino, were displayed at the gallery, and also compiled into a book titled “The 5 P’s: Proper Planning Prevents Poor Performance,” featuring another of Cohen’s bikini-clad photographs on the cover. This publication, and a series of photographs displayed at the gallery annex, captured various stages of the car’s evolution. In these visuals, Cohen adopted poses inspired by Cold War-era Olympian Nadia Comaneci, blending automotive artistry with performance and historical references.
A serendipitous move to Detroit three years prior, to head the photography department at the Cranbrook Academy of Art, placed Cohen near Kustom Creations Bodyshop, where she finalized the Trabantimino project. Her achievement has garnered recognition within the automotive world, culminating in a feature on the cover of Automobile Magazine. Cohen’s Trabantimino is not just a car; it’s a statement, an art piece that challenges perceptions of automotive design, functionality, and the very parts of a car’s interior and exterior, pushing boundaries and sparking conversations in both the art and automotive communities.
