„Life passes and is mirrored in the image.“ – photographer Marie Tomanová in an open conversation

JH     Recently, you launched your latest photographic publication Kate, for You at our gallery, accompanied by a poetic foreword by Libuše Jarcovjáková. Although you come from different generations, you’re both connected by an intuitive approach to analog photography. What is your relationship with her work? When did you first encounter her photography, and in what way does her approach inspire you?

MT     I first discovered Libuše’s work through Lucie Černá, who works closely with her. Our paths crossed during another project, and I was immediately struck by her honesty and I began following her work. Over time, I began to feel that I was, in a way, walking in her footsteps. Libuše had an exhibition at the Czech Center in Berlin during the European Month of Photography, and I showed work there the following year. Later, she exhibited at the Rencontres d’Arles photo festival in France, and I remember thinking that I’d love to be there too. It worked out, and I exhibited there a year later, as part of the Louis Roederer Discovery Award. And then came the moment when Libuše and I wrote to each other saying we must meet, and one autumn afternoon in Prague at Mánes, it happened. It was a beautiful encounter. Among other things, we talked about the documentaries that were being made about both of us at the same time. Since then, we have been meeting whenever we can, and we’re planning a beautiful large project together curated by Thomas Beachdel and Lucie Černá which is something I’m really looking forward to.

JH     The Kate photo series is rooted in portraiture, yet your own presence subtly resonates throughout. Kate herself is constantly changing, and some viewers have even recognized you in certain images. Could you talk about what connects you and Kate on a deeper, more personal level? And is there anyone else you’ve photographed over such a long period of time?

MT    I think I identify with the people I photograph over long periods more than I even realize. I began photographing Kate consistently in 2017, and what fascinated me most was the transformation of her identity. When I took a photo of myself in the Moravian Gallery in front of the main image of the exhibition, where Kate has freshly bleached yellow hair set against a vivid pink background, I realized with surprise that I had exactly the same yellow hair and hairstyle. It was as if I were her double. It made me smile and it felt oddly appropriate. I had been living so intensely with Kate’s images in recent months that they had started to imprint themselves on my own sense of identity. I admire Kate for her openness and directness. She doesn’t hide behind masks or false layers, but instead expresses herself very honestly and authentically. The photos and the short film Kate 2025, which I created with Kate especially for the exhibition, reveal much of her inner world and offer a very personal confession.
Since we met in 2019, I’ve also been photographing my friend Atticus in New York. And for over 18 years, I’ve been continuously photographing my nephews, Radovan and Bohdan, in Mikulov.

JH     The documentary The World Between Us, directed by Marie Dvořáková and currently showing in Czech cinemas and on HBO Max, follows, among other things, your early years in New York. Looking back, was there a moment from that period that didn’t make it into the film but had a significant impact on your artistic development?

MT     Marie Dvořáková took on the herculean task of condensing six years of Thomas’s and my life into an hour and a half, and I must say she did it brilliantly. The result is amazing. The documentary moves with the same fast, vibrant rhythm as New York itself. It’s intimate, full of tension and infused with humor. I think Marie captured us very authentically, just as we are, without embellishment. That’s where the strength of the documentary lies. Of course, there were many other formative moments in our lives, such as the exhibition at Rencontres d’Arles or Paris Photo, or my first show in Tokyo, or shooting for Meta. But all of that would be enough for a entire series and would make for a completely different story.

JH     Seeing six years of your life on the big screen must be an intense experience. Did you discover anything new about yourself through the documentary? Were you surprised in any way by the version of Marie Tomanová the film presents?

MT     After the first screening, I nudged Thomas, who was sitting next to me, and said excitedly: “Thomas, we are actually funny!” That was something that pleasantly surprised me and I hadn’t expected it. In the everyday rush and intensity of work, you sometimes forget those small moments that bring joy and are so important. The documentary reminded me of them… And of course, there are several moments in the film that I now perceive differently. For example, my excitement about getting a green card and my statement that one day I would be a proud American. I see that very differently now, but that’s the beauty of a longitudinal documentary: it presents the story exactly as it was, in that specific moment in time. My life has changed a lot since Marie Dvořáková began filming, and the documentary made me realize how far I’ve come, both professionally and personally.

JH     As part of the film’s promotion, your self-portrait in the red dress has appeared frequently, and the Fotograf Contemporary portal recently released it as a limited edition. Could you share more about the context in which this photo was taken and the story behind it?

MT     The self-portrait in the red dress was taken in front of a mirror in the bedroom of our old apartment in East Village. I'm sitting on the bed in a full Gucci outfit, from the red dress to the socks, underwear, and shoes. There’s a bit of a Little Red Riding Hood vibe, and I always think of a Velázquez painting because of the mirror play happening in the photo. I’m photographing myself, but when you look at the photo, it feels like I’m photographing you. It’s about identity, about who I am, who you are. Mirrors in which we reflect ourselves. It’s a self-portrait that speaks of intimacy, self-reflection, and being.

JH     How do you see the role of a photographer changing in a time when everyday life is flooded with visual content? Despite the changes in the world around you, what remains essential in your work?

MT     The core of my work is my own story, which evolves, changes, and transforms just like the times we live in. It flows and mirrors life. Sometimes in harmony, sometimes in contrast but that doesn’t really matter. What matters is to keep creating. I don’t shoot for an audience. The initial impulse to create comes from within, from the soul. As long as I live, I will take photographs.

Text: Jan Hladonik

IMAGE CAPTIONS

1 | Marie Tomanová, Self Portrait in Red Dress, 2020
2 | Marie Tomanová and Thomas Beachdel, photo credit: Marie Tomanová, 2025
3 | Marie Tomanová, Kate, For You, 2025
4 | World Between Us, Pilot Film, 2025
5 | Marie Tomanová, Kate for you, Book launch, 2025, photo: Martina Moravková