Czech photographer, born May 13, 1935.
1950, Saudek started to work in a printing company dedicated to painting and drawing. It was in 1963 when he/she decided to devote himself to photography, and inspired by the work of Steichen The Family of Man intended to write a book about the man of his time: from birth to death, but contrary to the large Steichen, rather than people-watching and shoot at the crucial moment, I imagined a picture and staged it for the cameraAccording to the tradition of the tableau vivant or pose plastique, pastime of aristocratic origin of the 18th, used still as a model for court portraits of the children of Queen Victoria in the 19th.
In 1969 he/she went to United States where he/she made his first individual exhibition at the University of Indiana. From the middle of the next decade he/she obtained the international recognition that was attributed to him in time. In the work of Saudek is a decisive point of inflection in the early 1970s. If until that time his photographic universe was populated by family and friends, even resorting to the snapshot after the 1970s stage was reduced spatially to fill fourteen metres of basement inhabiting: discovered his wall, moldy and chipped, it quickly became synonymous with photographic production. Thus, his work became quite individualistic, not interested social reality nor the political events; It was for this reason that did not find support from groups of artists or the favor of State institutions. And even more, began to develop the naked, theme which in its time not Czech photographers, cultivating critical circumstance that clinched it in their isolation. He/She was an artist countercurrent: police recorded several times his house, they confiscated his photographic material, State security service interrogated his friends and models, all this, in part, by the interest that his work had aroused beyond his native border.
In this way can be seen, in the evolution of his work back to 1970, as if the author had returned back to the world. Reality is even lower, impenetrable in their images, colored by hand, they lose all contact with the benchmark from which emerge. Creates a dream world for their models, which follows its usual (real) costume, and introduces accessories, choosing the most disturbing framing and leaving the view the lapsing of the environment. His creatures seem to reflect "the pleasure of the creator".
She spent much time until he/she could work exclusively as a photographer. It was in 1984 when obtained that permission, and freed from the chains of the work as an employee, he/she could finally devoting himself entirely to photography; It was even accepted as a member of the Unity of Czech Artist, although his work had been ignored for years. It occurred then those enthralled with his poetic imagination another time of nostalgic character, began to be confused with his later work 1984 puebla mannerisms and disrespectful exaggeration. Women, evoked what diva in the early years, turns into its opposite and sometimes transmitted feel is hate. The irony is accompanied by cynicism bordering on the grotesque and fluid tension erotic between photographer and model, so vivid is lost in another time. In the extreme case, the artist already does not seek the mystery of the sensual interaction, but rather tries to catch him visually from the fragment, approaching the maximum with its objective to taboo areas of the body.
Saudek not recoiled at nothing and their social adaptation ability went through the creation of an artistic unreality in that register: despite being behind the camera was an integral part of the scenario created by himself, prays in art, ora in life.