Annelies Štrba juxtaposes personal and cultural memories using photographs, film and sound. The qualities she exploits in these media are calculated to appeal to the viewer's own associations. Much of her material is drawn from her immediate environment, including documentation of her children and, more recently, her grandchild growing up.


Portraits of the artist's family in domestic settings are often juxtaposed with architectural scenes or other markers of historical and social life. These images are manipulated to create a specific ambience. In recent works Štrba has projected the photographs in audiovisual displays that suggest a temporal sequence or a private history set alongside a more public or cultural context.


In the Tate she has created a two room projection. In one room, six slide projections of Celtic crosses create a heavy, funereal atmosphere. A projected video image of a dancing woman weaves between the crosses to a soundtrack the artist describes as "dark, like the earth." In contrast, the other room is a 'light' room, in which projected images of Štrba's grandchildren appear against a video projection of the New York skyline. The sound, too, is light and optimistic, and the images have been processed in a very high key to produce a luminous atmosphere.

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Annelies Štrba juxtaposes personal and cultural memories using photographs, film and sound. The qualities she exploits in these media are calculated to appeal to the viewer's own associations. Much of her material is drawn from her immediate environment, including documentation of her children and, more recently, her grandchild growing up.


Portraits of the artist's family in domestic settings are often juxtaposed with architectural scenes or other markers of historical and social life. These images are manipulated to create a specific ambience. In recent works Štrba has projected the photographs in audiovisual displays that suggest a temporal sequence or a private history set alongside a more public or cultural context.


In the Tate she has created a two room projection. In one room, six slide projections of Celtic crosses create a heavy, funereal atmosphere. A projected video image of a dancing woman weaves between the crosses to a soundtrack the artist describes as "dark, like the earth." In contrast, the other room is a 'light' room, in which projected images of Štrba's grandchildren appear against a video projection of the New York skyline. The sound, too, is light and optimistic, and the images have been processed in a very high key to produce a luminous atmosphere.