Teresa Poester


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Drawings by Teresa Poester

Line is pure abstraction, however there are a few draughtsmen that explore line as a purpose on it’s own. The movement that originates a line is done out of a point that succeeds the preceding one, step by step, towards the unknown. In times of automatisation where the body is increasingly less requested as a working tool, the survival of drawing - as a bodily scripture - represents a urgent and necessary position taking.

My path began a long time ago with figurative and allegoric drawings, consequence of the dictatorship in Brazil, when artists expressed themselves through metaphors. Later, in Madrid, the work would transform itself in painting through landscape themes that would then lead to abstraction. From the years 2000 onwards I go back to drawing differently from the primarily. The work is gestural, composed by gesture and texture and no longer contours. Today it combines different contemporary languages and technologies opening up to new mediums.

During this time, I have worked in Pissaro’s former atelier in Eragny sur Epte, in Normandy, the place where I maintain my artistic activities in France. It’s dimensioned allowed me to increase the size of my mediums. The large mediums embrace and shelter the entire drawing body.

The shapes are usually squared so that they won’t restrict the eye neither to a portrait form nor to a landscape form. Under the influence of Vexin’s landscapes, the work becomes abstract. I have abandoned the stain for the line, I walk from a point in time and in space, the sheer translation of gesture.

From this moment on the action of drawing becomes the protagonist.

The graphite lines, coloured pencil lines or pastel lines overlay themselves and function as texture, fields of colour, and not as a contour. The tiny Bic pen gestures contrast intentionally with the large dimensions of the paper.

More recently, I draw on printed paper as I did in the Anagramas exhibit. It is about overlaying different types of techniques per layer. There are photographed etchings, digitally manipulated and printed in large formats that would be later be used as the medium for the drawing. The first gesture is the one on the etching and the last gesture is the drawing on the printed paper.

Today, in Brazil or in France, individually or with two young artists in the Atelier D43 group, I explore in a more systematic way a kind of hybrid drawing. My individual process influences and is influenced by the collective work combining drawing and engraving, photography, digital manipulation, book-object, video performance and animation.