Wrapped up II

source: highlike

Work: Míla Preslová Photographs by Míla Preslová do not need a commentary. Her images have a clear and understandable impressiveness. During the 90‘s we have admired her clear concepts and the courage to present her private worries. Days of hypocrisy and lies have been followed by times defined by the tyranny of intimacy, where the self reflexive approach has played a fundamental role. Míla Preslová has been always tough on her self and the power of her language has evocated enormous sadness in her spectators. In relation to the idea of human existence, the twenty first century brought an unprecedented situation. We perceive the work of Míla Preslová from different perspectives: the intimacy of her family matters are not understood as tyranny, but as certainty in the world of never ending information. The concept is no more under analyses, we no more crave for sophisticated concepts; we are influenced by humanity. There is no more interest in the approaching horizons of the future. The look of the spectator into the ground floor windows of Míla Preslová is what interests us, as well as her immediate and urging vision of the dangerously close horizons. Míla Preslová (1966) has studied at the Academy of Fine Arts in Prague. Her work evolves around the media of photography with a concept influenced by the theme of personal identity. She works namely with her body, which is exposed to various psychological examinations. Her photographic images are more less straight forward and very suggestive on the subject under scrutiny. It is the exactness of vague experiences such as pain, joy or uncertainty, which make Míla Preslová one of the most interesting conceptual artists in the Czech Republic. Although Preslová makes use of her own body, her art should not be understood as female art, as its message is much broader. From the second half of the 90s has Preslová‘s work appeared in all important thematic exhibitions in the Czech Republic, as well as in a wide range of exhibitions abroad. Moreover her solo show was on in 2002 during the closing down of the legendary Prague gallery MXM. Besides photography, Preslová also engages with installations. Lenka Lindaurova.
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source: artlistcz

Fotografie Míly Preslové jsou většinou obrácené dovnitř do mikrosvěta rodiny. Nejde však o žádné standardní fotografie z rodinného alba. Nejvlastnějším tématem většiny prací Míly Preslové, je obecně lidská potřeba touhy a citových vazeb. Její výpovědi jsou zaměřené na hledání vlastní ženské identity (Autoportrét, Zapletená, Žena v domácnosti). Vycházejí ze zkušenosti, která autorku charakterizuje jako partnerku, dceru, sestru, matku atd., ale zároveň tlumočí emoce přesahující rodinnou a společenskou roli jednotlivce (Mé oči sester, Se Šárkou, Dva na dva, On). Často pracuje s meditativně laděnými autoportréty, jejichž prostřednictvím mapuje své místo ve světě (Rozptýlím se, Horizonty). Její dílo se dotýká problému Vypovídají o síle mezilidských vztahů a naději, která je provází, ale také o lidské zranitelnosti tváří v tvář neporozumění, samotě a smrti (Rituál).