“An intensive examination of one’s own body and its presentation is the focus of the work of Maria Haas. Her self-staging topics range from femme fatal to motives of Madonna with child and serve as a basis for placing her individual self. Pictures from everyday life – with specific visual attributions to the different roles of women in society – serve as background on the one hand and at the same time as paradigms which should be challenged.
In her self-portrait as pregnant woman with pink feather boa and velvet cloth the artist challenges traditional images and taboos with a sex-appeal staging, while at the same time she uses traditionally appropriate and culturally accepted presentation styles in other pictures, like e.g. her self-portrait in a bluish Madonna cape with a child in her hands.
Blurry outlines and diffuse light-setting turn the photographs in very aesthetic compositions of motives and colours in which reality and fantasy melt into each other.”
Sabine Schaschl, 2000
“… While the subject dives into the water coloured by emotions, the audience is dipping into a foreign world through the voyeuristic view of someone outside. The artist is confronting us with heavy and challenging topics. Maria Haas is at the same time subject and observer in a discussion with religion, sexuality and violence and let’s us be part of this introspection.
Maria Haas uses sacral elements and rephrases them in her pictures by using different related objects. With this background the human body can hardly be distinguished from a blow-up doll. Colours and lights fade into each other and the roles of the involve subjects seem interchangeable.
The artist enters into a dialog and interaction with dolls, comics and pictures of Madonna in her work. Often there are several sequences of movements captured into one picture. Maria Haas acts freely in a constructed picture.
These pictures are untitled, since Maria Haas is capable of expressing emotions and feelings in colours, settings and accessories without having to use descriptive words.”
Alexandra Uedl, 1999