María Teresa Sánchez’s work plays with a contrast between the personal and the impersonal. Her artistic process utilizes photographic intervention to alter vintage photographs, some of which are taken from Sanchez’s own family collection. In her series, Faceless, Sanchez obscures the faces of the figures in her images with a soft, unfocused blur. Through this series, Sanchez questions society’s preoccupation with surface physical appearance, and invites the viewer to consider the masks that we wear in our daily lives.
In “The Girl and the Lake” we see a vintage photograph of a faceless woman on a lake dock. Instead of depersonalizing
her, the removal of her face forces the viewer to consider the internal world of this woman. It engages the viewer with the question of whether seeing this woman’s face would really give us a deeper understanding of her internal state. Though Sanchez’s works have a surreal and haunting quality, they are surprisingly intimate. Through depersonalizing her images with the removal of a face, Sanchez ask us to consider her figures on a deeper and more personal level, beyond the physical.