The work of Teresa Murta starts from the intensity of influences of astonishing power that intersect with the moment of her reflective observation.

 

In WHISTLE, WHISTLE, the artist maintains in her pictorial practice, the struggle between the inner and outer world.

The state of alertness and urgency is reproduced in the gestuality of a cinematographic camera in permanent movement. The images, concepts and memories that she displays in her works, have in the cadence of their layers a sequence in which the apparent tumult of forms and chromatic palette suggest a context of questioning about the belonging of each object that makes up her paintings.

 

The artist's gaze wanders between apparition and fading, at the moment when action and thought appear on the canvas they disappear from the world, from her world: principles that are fixed and, within them, freedom that is offered.

 

In order to understand Teresa Murta's inner aphorism - and that of most of the artist's works - we must look at the consequent fragments of her gestuality as a capsule of form and space where the subconscious reigns. In the Whistle, Whistle series, through sinuous notes of fanzine language, she presents us with a combination of works that challenge the observer to cross the barrier of the definition of the real world, assuming a place in her painting where there is no space for the one who refuses to dream.

 

From the top of a building, in a plan that has something of Metropolis (Fritz Lang, 1927), the angel Damiel contemplates humanity, following the rumour of everyday life.

"Wings of Desire" by Wim Wenders (1987)

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