The Cuban Teresita Fernández has made his name with great installation, a specific inclusion and diagnosis, local appearance and mental light. Among his habit is the immune system, the philosophical and the power of materials, testing the communication between geology and cosmology, micro- and macrocosmos, better understand the experiences of the population.
Violent nudes and existing in conflict between universe power and power, Fernández’s Assomiss Admiss. His arts reflects the difficulties and controversial environment, parents such as physical property but such as federal, political and cultural background.
With his recent exhibit in Lehmann MauPin Seoul, Fernández turns to horizontal environment – that limit is between earthly and weather, among the size of the nerves. The article “Liquid Valon is producing bright luminous spacilities such as horizontal songs such as seawater, and marine lumping against great dark nights. “We had a modern name as one rectangle between the above and what is below,” Fernández said.
His previous work body, soil income, drew the name of the country that describes the layers of stone and minerals that marked the building of the world. As notes, the series indicates that the “Horizon” is not one line but Spata grabbing the past, current future. “The liquid holon” broadens the image from the soil to the sea, including the bodies of the surrounding water. As the earth, the oceans are divided into vertical areas and darkness, much of the unknown part of the people. ” It is not a risk that the depth of the ocean is also enriched by culture and symbolic to describe mental and spiritual places – those mental areas that live within us.
There is something deep for some effective images, which will open the universe at the beginning or streams of particles and molecules in continuous movements around the world. Here, a line of water becomes limited and abbreviations, holding the upper and lower size of it on the edge. To extend Fernánnndezi on the continuing interest of the ground, his inquiry moves on the depths of the ocean, features the depths of the victim’s exchanging and symbols of our definition and broader comprehension proposals.
Fernández’s basic practice is what he calls “the intelligence of things” – the belief in the political, philosophical meaning as part of its form of formation and transformation. “Although some work, especially the panels, they touch paint views, I think of them as shoes, given that photos come according to coal, and let Fernández explains. “In this sense, materials are already full of an intelligence that includes their resources and origin.”
Depending on him, these works remain, in fact, fragments of places from which they appeared. Material Oppositions carry a symbolic weight, focusing on their histories. “I think about this as making a place with the world, so that there is no place to be a place of place, but it is really true,” he actually shows a violent history of those two things.
At the same time, operations assesses the Interplay between geology and water strategies, tension between microology and macro to allow to indicate a person’s impact and the restrictions of perception. “I am always interested in the meeting between great and nearby. “Most important, these things vibrate, they are not fixed – but transformed, behaved like water in itself.
In this case, scales and becomes difficult. While Fernández often created a memorial intervention of the site – recently its site-specific installation in the Memil collection – Here jobs feel it contains. Nevertheless they keep the exact quality of quality in his address, continuously discussing the relationship between materials, space, and viewer. He explains: “In many ways, I include material viewers, likely to be the size of one thing you see,” he explained.
This is especially so White phosphorus / cobalt . In the ongoing flow of particles, work includes birth cycles, conversion and destruction caused by an entropy. “The layout of thousands of ceramic cubes were seen in the same distance activities such as the burning field of color,” Fernández said. “However, when closely evaluated, each refined cube sees closure in a large cosmic image that lifts the galaxies – a large nest within the add.”
Fernández’s intention that these works remain substantial potential, always appears and accompanies their own, including Cosmos composition. Show includes nine graphites Nocturnal (milk sky)arousing rhythm and falling waves with the layers of deep blue tones. Blaphite objects are playing against Ethereal Blue and White Stice, creating a dialogue for display and air. Here, as in other places in the exhibition, the use of the deep color suggests the feeling of great, unexpected cattle – only – the part of the part of the comprehensive Cosmic scale. Finally, Fernández’s recent nutrients serve as meditating on a weakened human position within the universe, stopped between the earthquake, wet and heaven depending on the end of the planet.
“The fluid” of Terersita Fernández looking at Lehmann MauPin Seoul through October 25, 2025.
