Tereza was born Mazurova (implying paternal possession) in what was Czechoslovakia and resides both in CZ as well as the States. In her nomadic life, she questions familial and societal roles applied, engendering and classifying, bodies.
Swanda has an MFA from Vermont College of Fine Arts and BFA in Painting and Sculpture from Massachusetts College of Art and Design. Swanda has recently received the A.R.T. Fund award to pursue her project, Capital Cleanse, which she installed in a rogue installation at the Metropolitan Museum of Art. She has exhibited her work at the Whitney Center for the Arts (Pittsfield, MA), University of Oregon (Eugene,OR), Berliner Kunstprojekt (Berlin), 450 Broadway Gallery (NY), Bakalar and Paine Galleries (Boston, MA), Chemeketa Community College Art Gallery (Salem, OR), and online in Storyscape Journal. Her series, To/From Mothering, shown at the Center on Contemporary Art (Seattle, WA), won first prize. She has been awarded residencies at VSC (Johnson, VT), at the Millay Colony (Austerlitz, NY), and has been attending workshops with Rose Shakinovsky and Claire Gavronsky in Italy and South Africa since 2000.
Swanda’s distinctions include the Wilhelmina Denning Jackson Art Award as well as scholarship for graduate work.
In 1998 I had a vivid dream. Living abroad in Florence, it was the year President Clinton bombed Kosovo, just across the Adriatic Sea.
I dreamt I solved the War, and not just that particular War but all wars. It was simple. The solution was to float photos down all rivers to the area of conflict. When soldiers realized their so called enemies were depicted in the images, and recognized themselves in the images, they would put their weapons down. One would recognize the humanity in the other.
My work centers on a meeting of the so-called ‘other;’ between feminine and masculine, high ‘art’ and domestic life. The current work is about un-labeling. For example, in Mutual Cleanse, portraits carved out of soap are washed away with daily use. In Impermanent Foundation, the ocean, rain, or other natural phenomena take a classical bust and dissolve the piece. I document the work as it breaks down, examining what traces if any are left over. I am interested in following the unintentional, the mistake, the gap, the interruption and explore the space between intentions.