Teresita Fernández’s current solo exhibition is on view until December 31 at Lehmann Maupin’s 536 West 22nd Street location. Her seventh solo exhibit with the gallery coincide with her sculptural installation Fata Morgana, which is on view in Madison Square Park in New York. The gallery shows her latest body of work, including sculptures that are composed of intimate interior landscapes in concrete, cast bronze, and glazed ceramic. Recalling the artist’s earlier Rorschach pieces (2014) – a sculpture made of gold chroming, fused nylon, and aluminum – the new multidimensional works play with the idea of landscape and terrain. The theme of landscape in these Viñales pieces convey three-dimensional forms. The sculptures are detailed yet rough as they are somewhat fragmented, echoing of darkness and distortion, interior and exterior.
Best known for her unique works and public projects, Fernández explores the natural world, as well as the scale, being sensitive to the act of looking, perhaps finding out about the human versus the landscape. Her conceptually-based art making includes research, and communicates with an entire world of references coming from different sources. In the exhibition, Fernández has created a series of darkened and intimately sized ink and graphite drawings, which are mounted on small-size wooden panels.
These small pieces in sequences show her innate interest in scale. The dynamics between the immense and the intimate; the vast and the miniature; the macro and the micro are definitely part of the exploration. As the natural world as a reference is often large, the human viewpoint brings it closer; in other words we can grasp what we may or could see, if we had time and body to get to these places. Nature’s body is too vast to be created as miniatures, but this is what Fernández actually does. She has looked closely into the malachite mineral rocks and at their interiors comparing their material formula into full-sized landscape of the Viñales Valley, an iconic landscape in rural Cuba. She took up the saturated rich greens and turquoise colors from the malachite, being inspired by their clustered formations. These reminded of the aerial views of the green and lustrous landscapes of the rainforests.
Fernández draws huge parallels between the malachite rocks and her own experience of the caves in Viñales. The whole project is tricky and fascinating. She reflects the idea of the landscapes both visually and physically, taking in both extremities of light and darkness, inside and outside, containment and amplification. In the exhibition, the Viñales landscape merges with the malachite rocks, which come from the Democratic Republic of Congo, and with the sculptural materials that of concrete, bronze, and ceramic. Fernández fuses with these materials and plays with the scale creating metaphorical “stacked landscapes”, which narrate several layers of references to a place.
The exhibition includes three large-scale works made as glazed ceramic panels. The panels shine as saturated greens forming abstracted images. Their inspiration is the actual landscape of the Viñales Valley with its otherworldly mogotes (rare, limestone tower formations), cave interiors, and the exposed surfaces of minerals. Again, the artist is using clay, which is earthbound material. Yet the result is as if the accumulation of this material creates completely imaginary sense of the landscape itself. This is maybe the way art meets a complex surface of the natural world.
The central sculpture in the exhibition, Viñales (Reclining Nude), is a horizontal configuration of trapezoidal cast concrete structures of various sizes and heights with descending malachite and bronze forms that evoke the sprawling, verdant landscape from distant to close-up perspectives. As viewers engage with the full-round sculpture, the suggested landscape expands and contracts, prompting viewers to visually construct the image and become the size of what they are looking at.
Teresita Fernández have a deep rooted association for the cultural and aesthetic language of nature, as she has explored the surfaces of the landscape. She has visited the place, grasping intuitively about something unique of it. Thus the language of the place pours in richly textured forms, being poetic and narrative, echoing about rootedness, history, and different contextual phases. The forms shine through layers, ceramic bits, detailed and yet rough edges of pieces, depicting large and small fragmented knitbits of information. The old, or ancient speaks with the natural, as they have become entangled to stand for their environmental presence. Fernández uses devices like proportion and unconventional materials to draw the viewer into her works. She stands for individualized experiences that ask questions of place and us as humans. Ultimately, the essence reflected in each work could be described as tactile.
Teresita Fernández at Lehmann Maupin
November 6-December 31, 2015
536 West 22nd Street, New York
more information: http://www.lehmannmaupin.com