Teichmann’s practice examines the relationship between loss, desire and the imaginary. Across writing, photographic works and film pieces, we move from real to imagined spaces, exploring the boundaries between autobiography and fiction within the alternate orphic worlds evoked. Within staged fantastical images, the subjects are turned-away figures of loss, desired but always already beyond reach. The photographic medium is worked upon with painting, collage and montage, narrative voice over juxtaposed with moving image. Here, the photographic is loosened from its referent, slipping in and out of darkness, cloaked in dripping inks and bathed in subtle hues of tinted light. The spaces inhabited within the films and images are womb-like liquid spaces of night, moving from beds to swamps and caves, from the mother to the lover in search of a primordial return. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and rep­resentation.

Inherent to the photographic, as to desire and love, is the paradox and impossibility of grasping a body, the quest to close this gap between oneself and the other/image, and the inevitable distance, which always remains. As much as the photograph is a question of this body, it is also a moment of violence, of wanting to possess that which is always beyond reach. Momentarily photography delivers the perhaps universal and timeless desire to become one with another, sought within the lovers’ embrace. The apparatus makes this possible, makes loving pictures and picturing love a vertiginous extended moment of absolute proximity and distance at once.