Tramas e Sortilégios | 1989

Museu Nacional do Traje | Lisboa

(…) To create tapestries as a daily celebration of present tense joy involves recalling sensations and rediscovering the magic of transforming natural materials into decorations and other signs of the relationship between the body and its environment. Memory selects and generates symbols for what we lack, between the known and the unknown. Teresa’s tapestries are not a gratuitous accumulation of materials, trying to be attractive by being unusual. They are, on the contrary, very personal; one can see that she bases her relationship with them on their symbolic meanings, on her early memories, on her empathy with ancient gestures, from another time or another culture. Archaic Africa seems to be present. Like uprooted plants these tapestries bring us echoes of an abandoned land. They unleash …… forces, exalting and keeping the signs of our relationship with the world”(…)
...Mixed media: cotton, wood, linen, bones, silk, vessel's cable, fishing lines, hemp, straw, bamboo, feathers, sisal, raffia, snakeskin, stone, kenaf, suede, palm tree bark, coconut thread, palmthread, turtle shell, bone, African seeds, feathers, shells, sea-urich.

Rui Mário Gonçalves

In Catálogo


_técnica mista: casca de palmeira, cerâmica, ferro, grafite, pedra, seixos, madeira, bambu, cana, ossos, chifre, tartaruga, concha, picos de ouriço, corda de barco, algodão, kanaf, linho, ceda, cizal, ráfia, palha, fio de coco, fio de palma, sementes africanas, penas.

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