This exhibition brings together fifteen years of constant and meticulous effort, open to technical and conceptual innovations, and rich in its results. All these works deal with stones, used by the artist in three basic concepts: as a material that forms part as is, or with slight changes, of the corpus of several works, and others, based on photographs. And, of course, the stones as a metaphor, an allusion, a symbol of time.

These works of art were created from searches undertaken on the Maipo river, incorporating elements that are part of it, such as its stream and the rocks that it rolls forward and transforms. Other sources are the rocks of Tunquén and those of Neuquén, in Argentina, as well as outcroppings in Chile’s central coast, slate from Cobquecura and fragments of rocks found in Buchupureo. Each element collected, transformed or photographed has its own peculiar characteristics.

Starting from something as basic as rocks, Teresa has created series of works that are original and diverse, although interconnected. The Línea del Tiempo, an installation made from stones flattened and rounded by the river Maipo that ends on the Pacific coast; the pieces of Cobquecura slate turn into Piedra Matriz and suggest the Andes mountains. The entire neighboring geography is present.

Teresa starts from an objective reality that moves her. In the creative process, however, this reality becomes an abstract plastic expression. The rocks, a tangible material object, are transformed into a metaphor, a figure of speech. It is relevant that something more profound than its style makes the works recognizable and particular – a unique interpretation of nature and art, a pendular back and forth between the two, an orderly and eloquent creative impulse that doesn’t forget its roots. The artist dialogues with her stones; “witnesses of time”, as wrote one of the art critics who has studied her art.

The artist’s intense emotions about nature stem from her personal existence and her involvement with the environment. There she learned to read its signs, processes and cycles, and developed the capacity to interpret its space and time.

These two ideas – space and time – are the conceptual corpus of her work.

María Elvira Iriarte