Tereza’s sculptural, mostly highly site-specifically conceptualized and carefully composed work comes from two formal and methodic standpoints.
The first one of having an expertise in the format technically reproducible image, meaning photography, which she studied and graduated from at FAMU in Prague. The second, currently much more significant aspect of her practice, are conscious allusions to folkloristic craftsmanship and autodidactic approach to the treatment of materials. Already during the time of her studies at FAMU, Tereza experimented with a transfer from the two-dimensional plane to objects, which she, later on, evolved into a self-confident installation work combining traditional materials such as stone, wood or metal. While using simple techniques, these materials started to transform almost unconsciously into mystical masks, figures, totems, or ritualistic tools of some unknown profoundly spiritual culture. An autobiographical aspect of her work relating to religiosity offers a combination of various cultural heritages and visuality. Her mostly mysterious references are naturally merging into one another. No matter if they originally come from close or distant geography, from the past, the present, or possible futures, all of them speak a language that is highly familiar to us, yet fully indecipherable. In the times of gradually disappearing boundaries between the lived reality and the digital realms, Tereza moves the viewers of her work to a heterotopia, which seems to be almost in reach, almost tangible. This dream-like space is carefully constructed on the bases of closeness and a strong bond between human life and its natural environment. Such proximity is for Tereza as important as the bond between us and our inner self and our inner spirituality.