Tscher Statement
Central to my practice is the idea of perception disturbance. I look for situations that fall outside sense, outside language, outside the norm - and I put them in front of the viewer. That takes me toward the body, gender, the things that resist being said. I’m interested in where the norm ends and trauma begins, in the miraculous as it shows up through otherness, and in what I’d call a personal feat - effective or not, human or not.
I get there through absurdist metamorphosis: mixing up chronotopes, contexts, identities. I escalate the affect, then I tear it down again, Dada-style. My language flickers between uncanny and cute. I reinvent the big myths inside a reality that pretends not to matter, and I ask the viewer to break their own automatic way of seeing - to redraw their map of what’s real, and meet the other as a miracle.
Motherhood is at the center of this. My personal fight for the miraculous, inside motherhood, shapes most of what I make. I work in the mode of New Sincerity - personal archives, the body, the feminine. Viennese Expressionism, the School of London, and Conceptualism all matter to me here.
I work in painting, drawing, photography, installation, performance, and something I call OS - the obsessive series. I use all these media because static in perception doesn’t fit into one box.
Central to my practice is the idea of perception disturbance. I look for situations that fall outside sense, outside language, outside the norm - and I put them in front of the viewer. That takes me toward the body, gender, the things that resist being said. I’m interested in where the norm ends and trauma begins, in the miraculous as it shows up through otherness, and in what I’d call a personal feat - effective or not, human or not.
I get there through absurdist metamorphosis: mixing up chronotopes, contexts, identities. I escalate the affect, then I tear it down again, Dada-style. My language flickers between uncanny and cute. I reinvent the big myths inside a reality that pretends not to matter, and I ask the viewer to break their own automatic way of seeing - to redraw their map of what’s real, and meet the other as a miracle.
Motherhood is at the center of this. My personal fight for the miraculous, inside motherhood, shapes most of what I make. I work in the mode of New Sincerity - personal archives, the body, the feminine. Viennese Expressionism, the School of London, and Conceptualism all matter to me here.
I work in painting, drawing, photography, installation, performance, and something I call OS - the obsessive series. I use all these media because static in perception doesn’t fit into one box.
