About the work of Tery Fuentes

Our body is in the world as our heart is in the body. He keeps the show alive and, with it, forms a system”

Maurice Merleau-Ponty

To this permanent being in the world Tery Fuentes responds with essential impulses that reveal a world of her own through her works, the artist expresses her special sensitivity using traditional means, with them achieves a technical synthesis in which the gesture is constituted in content, that is, the creative impulse is overturned there, as if everything were played at the time of the production of the work.

In the presence of his images, by letting us be enveloped by that proper tempo that many works of art require to be understood, we realize that behind that gesture, beyond the exercise of the trade, we are revealed an aesthetic process that gives rise to a style of our own.

His drawings seem to trace his self-portrait again and again with insistence, either letting his face appear, always looking at us, or through the sinuousness of lines that connote the imprint of the feminine; it is a work that involves an autobiographical component, even when it deals with other subjects, its images, or refer to the artist, or carry the energy burden of what surrounds it, even those more abstract.

Some of his themes are recurring human figure, women’s footwear, sometimes steps; defined themes exhibiting a sinuous line, stealth we could think, and always characterized by the gesture, that creative impulse that we designate in principle essential and that in the case of paintings makes them appear as if everything had been played in a moment in a process in which pictorial matter becomes a tactile space that is offered to the gaze

When classifying the works of Tery Fuentes it is advisable to consider the idea of constellations rather than the series since they do not serve a chronological order as much as to motifs as we say, the themes reappear in cycles, and one of the motivations of the artist is abstraction. An abstraction in which behind matter, color and form we can sense that same stealthy sinuousness that characterizes his works.

The body, also feminine, appears sometimes sensual and sometimes contorted oscillating as well as abstraction and figuration in a creative process that ends up giving rise to a production that updates and gives vigour to the tradition of informalist painting.

Women’s footwear, based on her experience as a shoe designer in a factory, has been one of her motifs, which is appropriate to emphasize the interest that the artist manifests the interest, so that a double record of the footprint is expressed in these paintings, in principle in the theme, the shoe as an artifact that becomes a footprint and in the emphasis placed on that record that we call gesture in principle , as a record of the pictorial action. It is materially a set of works in which the footprint comes to life through a particular sense of beauty.


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