Tereza Vlčková

Tereza Vlčková (n. 3 de Novembro de 1983 em Třebíč, República Checa) é um dos novos valores da fotografia checa e da fotografia conceptual contemporânea.

Com uma carreira ainda breve mas meteórica, marcada pela modernidade temática e técnica, aqui está uma artista do nosso tempo.

Fotografia ou composição digital, a decisão é de quem vê. O talento, esse, é inegável.

Aqui ficam duas das suas séries mais conhecidas, com os respectivos textos explicativos.

A PERFECT DAY, ELISE… (2007)

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A vision that I am flying…

What if we could, at least for a moment, escape from this world?… Is it even possible?… How?… And if there’s no possibility of physical escape, is there at least a chance to set oneself free spiritually? To cleanse internally?

Delivered from the external world, trying to escape into pristine nature, we search for liberation and self-understanding. However, is this disconnecting from others and seeking asylum in solitude the way?

They say that there are places on the tops of hills which are attributed a certain magical, spiritual force. This holy energy incites to take a step towards liberation – to dare to step out,… to jump,…

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to separate oneself from all that is consumption and material.

But can a spiritual experience really evoke a special type of levitation – a kind of elevation of the body and mind?

A girl’s frailty and gentleness is tempted by passionate sensuality of an ecstatic surrendering; her face clearly expresses her being emotionally distracted from mysterious elevation and experience. Are we dreaming? The innocence and chastity of youngling Madonnas arouse the glow of radiant purity and harmony. We begin to float. Meanwhile, we inflect this verb (to float) in all its possible forms. A deep understanding causes unexpected tension and phantasmagoric experience. The sensitive age of adolescent immaculacy crosses the border of childhood with one foot and at the same time with the other enters the decade of adulthood. This transformational process is opened to sensory perceptivity and emotional sensibility; it eases from one state into another. Virgin impeccability and fragility deepen the threshold of sensitivity and awaken the essence of genuineness. Does a more perceptive age, catching these fleeting moments, exist? Personal experience of reality is truth, not illusion. Surrendering. We decide to leave this world: Do we soar off or fall?

“I had a dream that I was floating…”

SENTIMENT (2010-2011)

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The face of photography is constantly transforming. It is a medium, which crosses the borders between individual genres of art. On the art chart, it is accepted with diffidence, held under inspection and under pressure by the public thanks to a constant reassessment of the authenticity of photographs itself also caused by the viewpoint misvaluing photography as not being a genre of art.

In the Sentiment collection, a depersonalization of photography is nearly happening. I am creating a world of its own aesthetics and visual rules, whereby I am refusing photography’s classic appearance, but at the same time I am still making use of this medium. More so, painterly inclinations (mannerisms), the poetics of illustration and even graphical refinement are being applied and all nearly word for word.

The format was chosen very unphotographically; here it approximates a graphic sign.

The picture was not even necessarily manipulated in post-production. The frame was compositionally constructed in a painterly manner. The work carries elements of naïve art, surrealism, or pop art. Indirectly, it is a tribute to the painters, whose works have (intentionally and not) materialized in my creation.

From the beginning, the self-portrait study did not even try so much to mirror my actual disposition, much rather like a yearning to get closer to a given person at least for a while – no matter whether heroes (or heroines) from films, literary personae, persons from paintings or people from my own worlds and dreams. The situation tells the story of what I never was, of whom I have ever dreamt of – becoming, of what I ever wanted to be – to be just for an eyewink…

But nevertheless, the images reveal me, solely, and that more than I admitted to myself during the photographed moment. The collection arose from the necessity to explore and reevaluate myself, arising from a certain degree of self-centeredness, within life’s helplessness, to describe myself whichever way. My work reveals past personal “dramas” (which many times eventually seemed trivial), which had been straitening me for the past two years. The milestone is shown as an imaginary horizon divided by a colored line. It expresses the passing of certain life stages or tests and symbolizes imaginary and abstract borders, life’s shifts and situations, which often bring along particular, personal poetics bounded by absurdity and fatalness. It is on the threshold of these circumstances that we stand often, motionless and helpless, waiting for our “deliverance”.

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