Photography Classics and Avant-garde (results)
2 April 2020 7 PM CET

Teresa Tyszkiewicz (b. 1953)
"Visage epingle" 3, 2003
Hammer price: 9,000 PLN
LOT number
112
Teresa Tyszkiewicz (b. 1953)
"Visage epingle" 3, 2003

Hammer price: 9,000 PLN

digital print/paper, 38 x 29 cm
signed, dated and described in pencil lower right: Teresa TYSZKIEWICZ 2003'
signed, dated and described in pencil on the reverse: 'Teresa TYSZKIEWICZ | "Visage epingle" 3 | 2003'
ID: 83426
Taxes and fees
- In addition to the hammer price, the successful bidder agrees to pay us a buyer's premium on the hammer price of each lot sold. On all lots we charge 18 % of the hammer price.
- To this lot we apply 'artist's resale right' ('droit de suite') fee. Royalties are calculated using a sliding scale of percentages of the hammer price.
More information
‘This poor object became magical to me. A prick, and the resistance and willingness to combat it. The pin provokes me and brings new proposals. It becomes gentle once it is tamed, but during work I’m scared, because it is dangerous, attacking. Perhaps it symbolises a struggle with obstacles.’

Teresa Tyszkiewicz

Pins were the distinctive mark of the works by Teresa Tyszkiewicz. The artist began to use them at the end of 1970s, when she began to compose images made of dressmaking pins. She developed this idea when she moved to France in 1980s. She combined the innovative use of pins as artistic material with other artistic techniques. The result was specific images-reliefs, objects-sculptures. Pins were also present on the surfaces of photographs, which were one of the equivalent ways of personal expression used by Teresa Tyszkiewicz. The introduction to the artist’s exhibition at Galerie Anne de Villepo in Paris in 2017 included the following statement: ‘The density and dynamics of composition, autonomous and complex structure of works are the carrier of the author’s strong emotions. The unique relief-based nature of her works is evoked by the play of lights and shadows. A sharp metal pin is both experience and metaphor of pain. The artist also often contrasts the brutal surface filled with pins with her own image, using sharp pins in her self-portraits. Piercing objects make us think of various types of ceremonies and rituals, e.g. voodoo.’ Self-portrait is a frequent element of the works by Teresa Tyszkiewicz. It is the artist’s body that is the main carrier of expression in her films and photos. ‘She reaches out for a repertory of erotic and fetishistic references that emancipate female sexuality. By using different objects and matter she stages situations in which sensuality borders with masochistic practices’ - these words were written about the works by Teresa Tyszkiewicz by the organisers of exhibition entitled “To Outline with Myself” at Profile Foundation in 2018. In the object presented at the auction, the artist covered her face with a mask whose white colour and texture are reminiscent of post-surgery bandage. The “pinned face” displays anxiety and fear, but also real and strong emotions. The artist said: ‘My body is a medium, source and creation of a problem. It is necessary. It’s a base, the “house” which protects my personality. It performs the function of “connector” between reality and imagination.’