Within large scale photographic and film works of fragmented bodies in hues of pale blues and liquid, inky blacks or staged images within sweaty jungle undergrowth painted with psychadelic dripping inks, Teichmann examines ideas of loss and an impossible return, of grief and a sense of inherited home-sickness.
Teichmann's practice uses still and moving image, collage and painting to create alternate worlds, which blur autobiography and fiction. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and representation. The spaces inhabited within the films and images are womb-like liquid spaces of night, moving from beds to swamps and caves, in search of a primordial return.
"Esther Teichmann calls for a new way to look at photographs, not as mirrors of or windows into the world but as portals between the personal and universal, reality and the supernatural and photography and other mediums. Through the layering of memory, desire, fear, fiction and fantasy, Teichmann uses and extends the photographic medium as a passage between realms of experience and artistic creation. Her work exploits the tension between photography’s relationship to reality and a sense of otherworldly power. For Teichmann, this complex, even troubled relationship with the medium yields a passionate foray into others."
Jessica Brier (Into, Out From, Through: Esther Teichmann and the Photograph as a Portal, Daylight Digital)
"Teichmann's utopian island-world lies somewhere between black and blue seas, between here and now and the fantasy of where one might go, or perhaps, even, where one has been. At the heart of the work is the experience of the primal loss of the mother, who necessarily turns away."
Carol Mavor (Love in Black and Blue, Silently Mirrored)