When I thought about what Matúš Granec's photographic work describes, as well as the presented cycle called TEREZA NOSKOVÁ, I immediately came to an association with the famous Nan Goldin, for whom photography is a life and a life is a photography. Parallel, for me, Matúš's desire is to freeze the unstoppable time and the changes that this medium has.
Matúš's work is a bit sad-serious, but at the same time it's poetic to him. The theme of the exhibition is the life stages and personal transformations of photographer and model Tereza Nosková, which Matúš captured during the year and a half. The fact that they are already joining a strong friendship and human bond has provided the basis for the possibility of penetrating into the intimate world of one human being. The postmodern visual language of uncovering human communication, as well as the personal desires and crises of the model as well as the photographer, created an interesting combination. Matúš found himself in various situations during the photo shooting. And as Tereza's time flowed, Matúš captured with exposure time her emotional communication with her relatives, mood and emotions. In fact, he became an "official voayeur" of her day-to-day activities and mood, she became his muse and they became support for each other. As Matúš describes, Tereza changed every month after she moved, changed her hair, her attitudes to life, her behavior, and her relationships with people. Matúš's ambivalent relationship to the identity of a being like Tereza has brought with him fear and admiration. Yes, Tereza likes to risk and her life is three times faster than most people, but that means she lives fully.
So there were created a chronicle of Tereza's emotions, full of bruises on the body and soul. Intimate moments captured by a small aperture and Matúš's subjective view of film material evoke small fragments of our lives. Tereza is once a bed queen on Matúš's shots, sometimes the princess of a fresh Sunday morning, her look and looks vary depending on the momentary mood and mental state. The environment that Matúš chose for photography does not allow other contexts than those that are kind of "passion" of the Tereza world, and we, as spectators, can feel for a moment that we have found herself in her thoughts. Matúš also admits his presence as a photographer, which distorts to a certain extent the unified line of testimony about Tereza's world, but at the same time confirms the aforementioned ambivalence of their relationship. Sometimes Tereza looks too directly, sometimes she is just caught. Whenever Matúš presents her impressionistically and dreamlike, sometimes raw and real. Sometimes elements of fashion photography, sometimes the absolute diary form of Matúš images, flow in some parallel worlds next to each other. Drugs and sexual toys are in contrast to the gutsiness and dream illusion of the perfection of fashionable toy Barbie, or we could say that just to disturb this illusion with the progressive drying and destruction evoking flowers on the window. Because the reality may be different from what we think, because the modern Ophelia is in many today's women because Matúš sees Teresa as being "cast" into our world by accident, a little child, a little woman, looking for pure human feelings and a path from this existence, as we all.
The presented cycle could also have the name Of Tereza and Matúš, as Matúš's period of maturity (as he himself says) will always be associated with Tereza's fast pace of being, and for Tereza his photographs will forever mirror her most intense feelings, because just spontaneity and desire to uncover connected them in a certain moment of life. Matúš captures the reality with the same desire that Tereza lives with ...