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. We can also speak of some sort of circular closure. The picture was not even necessarily manipulated in post-production. The frame was compositionally constructed in a painterly manner. The work carries elements of naÃ¯ve 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 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 â€“ 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 â€œdramasâ€ (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 â€œdeliveranceâ€.
Tereza VlÄkovÃ¡ Born 1983 Education: 1999 - 2003, Secundary School of Apllied Fine Arts, UherskÃ© HradiÅ¡tÄ› 2004 â€“ now, Silesian University in Opava - The Institutie of Creative Photography 2003 â€“ now, Tomas Bata University in Zlin, Advertising photopraphy, Awards: 2007 - Frame07 PHOTO AWARD, 3rd place in category Hapiness 2008 -UniCredit Bank Young Photo Award 2008 â€“ The Photo Factory's Audience Award 2008 â€“ Grand Prix BMW, Lyon Septembre de la Photographie, Lyon 2008 â€“ Frame08, 1st place in category Love 2009 â€“ 2.place, Czech Grand Design 2008 Individual Exhibitions: 2008 â€“ Two, Hall de Lâ€˜hotel de RÃ©gion, Lille, France 2008 - Little Garden, Le ColysÃ©e, Lambersart, France 2008 â€“ Two, A perfekt day, Eliseâ€¦ DÅ¯m umÄ›nÃ, Opava, Czech Republic 2008- ÄŒeskÃ© centrum, Mesiac Fotografie, Bratislava, Slovekia 2009 â€“ Tereza VlÄkovÃ¡, Galerie Louvre, Prague , Czech Republic