Tereza z Davle a Adolf Zika:
NOT ONLY ABOUT GRANDHOTEL PROJECT
11. 4. 2011
Young photographer Tereza z Davle will discuss with the curator of her exhibition Grandhotel - fashion photographer Adolf Zika. On Monday, 11th April 2011, at 7 p.m.
Adolf Zika wrote about Tereza z Davle:
... in her latest author´s project named the Grandhotel, she has unfolded a hotel theme in the intimate nude field. Do not let be perplexed yourselves by the primarily trivial sonority of this subject matter. The Hotel is an embodiment of intimate atmosphere, symbol of a quiet haven, and a welcome lovers´ hideaway. The Hotel is both a woman´s embrace and a lap. The Hotel is an analogy to any adventure, eroticism, and alluring mystique.
Therefore, in Tereza´s photos, we are watched, seduced, we dwell upon the women´s suave beauty with delight and are caressed by their sensual glamour of the first republic. The very walls of the Hotel Evropa, soaked with their funhouse tarnished glory, are the narrator of life stories that are hiding behind the charismatic glimpses of the ladies and girls. In the course of time, an extraordinary hotel becomes a legend in the same way as a woman´s body, which has been a legend since long ago. It is an axis around which the whole universe revolves.
Tereza of Davle has taken full advantage of her theme. In the straightforward simplicity lie the magic and grace of her snapshots, not only thanks to the use of an analog camera and the consequent manual enlargement of each shot, which the authoress undoubtedly masters with skill, but, above all, thanks to her sense of sight.
The whole curator text about the exhibition is HERE
Tereza z Davle was born in Hořice in 1975. In photography, she is an autodidact, she learns from books, and from her colleagues mainly through her own work. Perfect technique is neither her aim nor a means of expression. On the contrary, in imperfection (blurred snapshots, photos with large grain) she can see greater magic and bigger possibility to capture the authentic atmosphere than in perfect, but bleak shots. It corresponds with her approach to the technique: she rarely uses it in her work – tripod, only when it is really necessary, and she never works with camera flash of the professionals. As she says, she does not take the light to the fashion models, but brings the models to the light.
She takes black-and-white photos with Canon and Pentax 6x7 analog cameras. Then, she enlarges her photos herself. Backwardness and demandingness of the manual enlarging have diverted most photographers to the digital camera, but to her it still makes sense. That “sloshing in the developer”, as she denotes those hours spent in the darkroom, gives her photos that glamour, of, at the first sight, unmistakable hand-made enlargements.
Tereza z Davle prefers naturalness – both in the selection of light conditions and her models. She takes photos of her female friends, neighbours, and young ladies who do not get around the world of modelling, but have something nice in them, which Tereza is able to perceive – be it the body, or a part of it (legs, hair, bosom), or the ability of a natural countenance.