Teresa Poester



Among the artists I know, Teresa Poester is probably one of the most passionate about the art of drawing. She knows that drawing is not a subsidiary art of painting or of other forms of graphic expression, but an autonomous art full of surprises, as relevant today as it was in the time of Pisanello (1395 -1455), one of the greatest draftsmen of all times, who, in a way, inaugurated the western custom of considering drawing as the first burst of inspiration. The draftsman effectively throws his inner world on paper, the synthesized fruits of his memories and fantasies.
The true draftsman produces something unique, which, most of the time, cannot even be retouched. Drawing, after all, is a touch of the hand (as were the first impressions of hands on the walls of Paleolithic caves). It is characterized by its immediacy.

In the 14th and 15th centuries, when people began to collect drawings, a change took place in the behavior of artists: a new medium was invented to preserve the inspiration with all its impurities, with its original freshness . Until then, drawing had been at the service of the mosaic, of the stained glass, of frescoes. From a certain point of view, all the modern and contemporary arts that privilege the unconscious were born with it.

Teresa has always devoted special attention to drawing, but there is no doubt that her encounter with a Chinese artist in France, which resulted in a joint exhibition, has also given her a new vitality. Her coherence is most impressive. The current exhibition did not emerge accidentally, it is a result of a kind of gestation. Teresa kept on distilling her work, first by imprisoning it in “Grids”, which could evoke Mondrian. Gradually, however, she freed herself from them, and eventually created a series of arabesques, oblivious of any obedience to the canons. Her present drawings have the lightness of bees in an orchard, whispering among the flowers. An author used to say that Pisanello, the artist of International Gothic, assimilated “the taste for the rhythmic fluidity of lines” from his master Stefano da Verona. Rhythmic fluidity: Teresa's drawings from the series “Gardens of Eragny” are proof that abstract art is a necessity to our eyes.

Armindo Trevisan, Porto Alegre, 2004