Collage - The picture in the picture

Attempting the breakthrough via predominant visual conventions by the reuse of already seen material.

TeresaMar locates the transportation of the message of her images into the open space via light-projection and digital print-media.
Innovative forms of representation as an answer to the modern, large scaled architecture which uses boldly applied new materials as well as techniques. As an interesting consequence also places far from metropolis may experience a new positioning.

The work with wide-span area is performed selectively as projects of such dimensions require a sophisticated logistic as well as a selective approach to the large surface and the motif shown there. Not every surface, which is offered, is appropriate.
The wide-span area stands for freedom and contact and doesn't only focus on the genuine art-connoisseur. The images, which are chosen out of impressions of the daily life and formed into a collage, enable an art-unspecific public to establish a reference to the picture and to get involved.

TeresaMar ‘ABSTRACTION IS THE RESULT OF THE PERSPECTIVE'

It's reached in the collages through the dense superimposition of many pictures.
This causes, that the image will be seen different from the distance than from close up. Just from the distance a certain monochromy, special contrasts and forms that result from the cutting-patterns are disclosed to the spectator and thus reveal further symbols.
Collage is the result of the connection of incompatible elements, and therefore it represents a certain strangeness, as if you would move through a second reality, one, where, due to the freedom of expression, analysis and words may penetrate only up to a certain limit.

Collage uses a subcultural iconography. It uses images of mass media, the so called 'industry of consciousness', and its specific visuality. This way the mostly temporary, visual presentations of mass communication get upgraded.
The unrecoverable distance between reality and the frequently shown pictures of ideals, creates a projection-surface on which the spectator may project an inner image, an idea, an association. The inner image is a value free one. The outcome of it is a de-individualized and estranged individual with an aura of perfection. A superior sign language is used, a type of code for something which is difficult to describe.

The mass communication uses generally archetypes respectively to universal, pre-psychological primeval images of the collective unconsciousness with the aim to cause desire. As the main aim is to attract the attention of the spectator, it's creativity and publicity, which, in certain intervals of time, re-determine social agreements regarding the interpretation of symbols.
This demonstrates that symbols are dynamic and undergo changes. A symbol shows equality and inequality, synthesis and analysis.

 

Visuality in front of theory - The image should persist alone before our eyes.
In her collages she searches for the hidden contents in the actual image language. 'What I choose reflects me something I strive to explore.'
The nonverbal language addresses to the sensual perception and the libido. After all it's the main-power of creativity and doesn't have to be sacrificed to the political-correct listlessness. Signs are not bare of sense. An art-piece depends on its context, which forms the metaphoric frame. Each picture relates itself to something. Its direct appeal to feelings is its unique power. Both, image and libido are only to a certain extent theoretically discussable.

The works of the artist are characterized by their haptic-organic sensuality and should maintain a certain impenetrableness, whereby she prefers the subtle message to the echoic gesture. Between the individual collages are usually big time-intervals, hence it isn't a simple composition of joint picture-pieces, but a creation of a self-reliant picture. Her pictures withdraw from being fixed down and open themselves to a reception of the whole impression. Art as an experience of the senses, one where the eye is free to go on a journey.

Teresa Mar proceeds from a plurality of perspectives and seeks the dialogue and interaction between artist and viewer. ‘The work with the pictures of others, originates from my interest in their view-points.’ Her works contain complex picture-messages, which open up a broad association-margin and induce the viewer to a visual confrontation. Seeing becomes an active process, a perseverance from sight to sight, a sensual measurement, a going into the picture.

TeresaMar ‘Artistic Architect’
TeresaMars glued collages are the base to deal with the digital media. The artist joins picture-details layer by layer over each other till they condense to a new independent image, which represents a mixture of self-expression as well as of a reflection of often used symbols, which inform us about conscious and unconscious aspects of society.
On the computer the artist de-constructs the structure of the picture and reaches hence an abstraction of the symbols, whereby new perspectives and signs are revealed.
, If I work with digitalized estrangements, then I focus on the detail and exploit the creative margin, which the computer opens up. Additional possibilities of expression then open up to me, when through digital images single cuttings of the collage are rendered, sorted out or sometimes get distorted. This process of clearing away layer by layer of what I had previously constructed is like going into the depth. From the experimental work with the ‘digital brush’ resulted a focusing, which enabled the fixation of the work processes.
Here an image becomes the basis for many images, which again has been created out of many.’

Digital creativity is an open creative process, which goes together with ever new technical steps, which have to be integrated.

, The collage and in sequel the digitalized image enables me to reflect a medialized and image determined reality.' Teresa Mar