Major series include Hand-colored still-lifes, Body still-lifes, Jugendstil Album,  The Address Book, Glass Books, Fragments from the Sex Life of Jan S. and Valkyrie (hair), also photograms and short videos.
Her idiosyncratic approach to photography has been influenced by her work with museums and galleries, specifically the use of materials related to the “packaging” and presentation of photography as a commodity, involving glass, mat-board, nails, frames, surgical tape, texts and finally, the museum wall as final resting place for the framed photograph as object.


 
Her use of the book form (see Glass books, Address book, Jugendstil album) reflects a persistent fascination/obsession with multiple layering - of imagery with texts from art history, psychology, poetry, memory - and with language itself, including digital gibberish derived from incompatible forms of computer fonts and symbols.
Recent work includes photograms on outdated Hungarian Forte paper of the ubiquitous Central European dumpling/knedlik.

I  possess at the very least - curiosity - a need to experiment with, to enhance the two dimensionality of the photographic print… Using sequential images, as ina book form, is an enormously powerful tool… Layering of time and space in three-dimensional assemblages provides additional freedom of form and material, most useful for the would-be sculptor…[S. Pastor, Prague, 2008]

Her conceptual approach may be compared to the concrete poetry or collage work of Jiri Kolar, the object assemblages/boxes of Joseph Cornell, new forms of pop culture stemming from the work of Andy Warhol, and post-modernism in her work incorporating historical imagery with object or text fragments from the modern, everyday world.
Major series include Hand-colored still-lifes, Body still-lifes, Jugendstil Album,  The Address Book, Glass Books, Fragments from the Sex Life of Jan S. and Valkyrie (hair), also photograms and short videos. Her idiosyncratic approach to photography has been influenced by her work with museums and galleries, specifically the use of materials related to the “packaging” and presentation of photography as a commodity, involving glass, mat-board, nails, frames, surgical tape, texts and finally, the museum wall as final resting place for the framed photograph as object.

 
Her use of the book form (see Glass books, Address book, Jugendstil album) reflects a persistent fascination/obsession with multiple layering - of imagery with texts from art history, psychology, poetry, memory - and with language itself, including digital gibberish derived from incompatible forms of computer fonts and symbols. Recent work includes photograms on outdated Hungarian Forte paper of the ubiquitous Central European dumpling/knedlik.
I  possess at the very least - curiosity - a need to experiment with, to enhance the two dimensionality of the photographic print… Using sequential images, as ina book form, is an enormously powerful tool… Layering of time and space in three-dimensional assemblages provides additional freedom of form and material, most useful for the would-be sculptor…[S. Pastor, Prague, 2008]

Her conceptual approach may be compared to the concrete poetry or collage work of Jiri Kolar, the object assemblages/boxes of Joseph Cornell, new forms of pop culture stemming from the work of Andy Warhol, and post-modernism in her work incorporating historical imagery with object or text fragments from the modern, everyday world.
Suzanne Pastor