Tierra de Nadie. Madera quemada
98 x 171. Colección particular – Los Angeles
THERE IS NO SHORE
1997
The reality, although multiple and diverse, is indivisible. The true nature of reality knows no boundaries.
Zen Master Dokushô Villalba
Wax, gold and smoke
The authentic journey does not exist outside of ourselves. The one that reaffirms us is that trip without external conditions, which is made at the same time as it is carried, because it is the expansion of oneself, our place of meeting with oneself in a remote place, and yet pre-known, recognized, back to rediscover where to “be” again or if possible, communicate more deliciously with the depth and, at the same time, the lightness of being a being without ties, without the stumbling blocks, without the narrow vicious circles that haunt us every day.
Extract from the text Cera, oro y humo by Teresa Blanch for the catalog of the Non hai beira exhibition on the occasion of the Union Fenosa Museum of Contemporary Art scholarship abroad.
No hay orilla I (Montañas). 1997. Arcilla, raíces, talco y cable. 65 x 60 x 70 cm. Colección particular, Valencia.
No hay orilla, vista de la Exposición en la Galería Trinta, Santiago de Compostela. 1998.
No hay orilla II. 2002. Cera y raíces. 45 x 11 x 11 cm. Colección Paral – el 39, Valencia
No hay orilla III. 2002. Botas y cera. 55 x 30 x 50cm.
Colección Galería Van Der Voort, Cati Verdera. Ibiza.
I travel from north to south, from house to house of Buddha to Buddha, visiting places inside and outside of me, discovering how that part of me that constitutes me but does not belong to me manifests itself intensely in everything I live, radiant and excited as the one who finds his way back.
Pamen Pereira, Sapporo 1996
El Castillo de la Bestia. 2001. Barro, paja, alabastro y nylon. Colección Galería Trinta. Santiago de Compostela
Gnosis II. 1997 Pan y chocolate. 20 x 50 x 60 cm.
No hay orilla IV. 1997 Madera, chocolate, cera, adobe y cristal. 122 x 78 x 52 cm. Colección Galería Cánem, Castellón.
There is no shore
… In the same way that the small boat of chocolate skulls, beautiful and messy brown, built meticulously by the artist and placed on a clay pedestal, is an apparent “vanitas” in which death becomes tender and musical. it transforms into a dreamy cradle that makes a certain path towards the deity, a non-superior or ultra-natural deity, rather close, close, identified with humanity. Surely the path to the house without shadows of which Master Suzuki speaks and to which the artist refers in a recent text. To a house of all, resoundingly open, without identity struggles, reconciling, that floats in space with a particular sun inside.
Teresa Blanch to the catalogue There is no shore 1998
Sin título. 2002. Caparazón de tortuga y cráneos de chocolate. 15 x 22 x 13 cm.
Casa raíz. 2003. Cera, raíz y cable de acero. Colección particular
Sin título. 2000. Humo sobre papel. 255 x 140 cm.
Colección Shereen Malak – Ramón Blecua. El Cairo (Egipto)
Baobab. 1998. Humo sobre papel. 140 x 255 cm.
Colección Caja Burgos – Caixabank.
Sin título. 2002. Humo sobre papel. 87 x 102 cm. Colección particular
Poetas del aire. Acrílico y madera quemada
Colección Abanca