English

Teresa Tyszkiewicz expresses her artistic reflections in many disciplines which include drawing, painting, photography, performance or experimental film, which she defines as an image of imagination in motion. Due to their great erotic charge, her very personal projects have often been associated with the feminist art which was at the same time developing in the world, yet the artist does not feel connected with it.

Towards the end of the 70s she participated in the Photo-Art movement of artists. At the turn of the 70s and 80s she was extremely active in the field of original films. Her individual films include among others: Day After Day (1980), Grain (1980) and Breath (1981), and together with her husband Zdzisław Sosnowski she made Permanent Job (1978) and The Other Side (1980). Teresa Tyszkiewicz’s video works are characterized by extensive visual and semantic structures which have been produced without a script during improvisations in front of the camera.

An unchanging element, consistently appearing in different variations in the artist’s projects is pins: stuck into a thin layer of paper (the beginning of the 80s), into the thick texture of linen, juxtaposed with a soldered metal net, and in recent years contrasted with the image of the artist’s face.

It is the metaphorically understood struggle which is the key category defining Teresa Tyszkiewicz’s projects, satiated with drama – an artist’s struggle with matter or struggle as a way of existing in the world. ‘Streams’ of pins can be understood as a symbol of human vital energy, an homage given to the laws of nature, or they can equally well represent the genesis of life as a whole, the dynamics of elements, apparently chaotic order of the Universe.

Teresa Tyszkiewicz (born in 1953) gained her diploma at the Mechanical and Technological Department of the Warsaw Polytechnic in 1978. Since 1982 she has worked and lived in Paris.

The artist’s works have been presented at many individual and group exhibitions, among others in Amsterdam, 1980; Lisbon, 1982; Warsaw, 1998; New York, 2000; Paris, 2007.

They have been purchased by numerous museum collections, including Fondation Camille, Musée Ville de Paris, Musée Bohin in Paris and private collections (France, Germany, Poland, Switzerland, Italy, USA)