︎︎︎
 





















Teresa Peters ︎︎︎


︎ HOME ︎  INDEX ︎


Projects & Exhibitions ︎︎︎

Web Archives

︎ MOLTENENTITIES.COM

︎DISASTROUSFORMS.COM

Exhibitions 2021 - 2022 





  • ECHOES Portage Premier Award Winner 2021 ︎ Portage Ceramic Awards Te Uru - Waitakere Contemporary Art Gallery

  • ARTEFACTS Merit Award Winner 2021 ︎Ceramics New Zealand National Exhibition Diamond Jubilee, 2021










  • TENT 2021, Mothermother, Finger Pricks & Curses, Nov 2021

  • Mothermother Iteration 10 Portraits @ Aotearoa Art Fair 2021

  • Foolscap, RM Gallery and Project Space Aotearoa Art Fair 2021

Exhibitions 2020 - Prehistory 

  • ECHO BONE, New Ceramic Aquisitions @ Pah Homestead 2020






  • ECHO BONE, Studio One Toi Tu Ceramics Creative Studio Residency Exhibition, 2018 - 2019


Previous ︎︎︎





Writings ︎︎︎
2022 ++


Portage 2021 Press ︎

  



  • RETURN OF THE PORTAGE review by Jemma Giorza ︎  Ceramics New Zealand Magazine Winter 2022





︎︎︎













Info ︎︎︎

Teresa Peters is an artist and filmmaker based in Tamaki Makaurau, currently working in clay and ceramics, photography and moving image. She is interested in bodies, earth bodies, forming and transforming. Chemical compounds and molten entities, in intimate combustion. ‘Excavating’ primordial totems’, as we move on into the sixth mass extinction. Ceramics is alchemy. Earth, water, air… fire...

Mark






MOLTENENTITIES.COM- Notes on moving mountains


From things flow @ RM Gallery and Project Space, July 2021


MOLTENENTITIES.COM ︎



If fossilized nonhuman lives appear as stone, Foucault’s infamous human lives appear as ashes or dried plants and flowers organized in a herbarium as an “anthology of existences.” Fossils emerge as if from the ocean floor in the shape of “ear, or skull, or sexual parts, like so many plaster statues, fashioned one day and dropped the next,” as the cast-off parts of a human; the logic of resemblance peculiar to the fossil recasts those human parts as sea shell, bird, or worm. Foucault’s historically contingent, emergent conception of life forces us to engage with the materiality of the traces of the past through which we construct our present un-derstanding of ourselves, not only as individual disciplinary subjects but, more urgently, in our massification as population and even as a geomorphic force.[1]


Ceramics - a crystaline matrix. Quartz makes up over 50 per cent of the earth’s surface and is the main ingredient in ceramics glazing, with calcium carbonate and feldspar.  Basaltic lava usually erupts at 1100-1200 C. Quartz activates after bisque firing clay at around 950 C and vitrifies the glaze to the clay body at around 1200 C. Calcium carbonate is bones. corals, fossils  - our divine monuments eventually activating earthquakes and volcanoes. Surface tension - piezoelectric pressure on quartz can also trigger eruptions. Touch and heat activate quartz in communication devices like touchtone screens in mobile phones. It’s crystals vibrating at precise frequencies - transmitting radio and television signals – sometimes without the use of electricity. The third eye  - 100 to 300 microcrystals per cubic millimetre were found in each of 20 different human pineal glands, able to transmit into electromagnetic fields, such as those of other brains. We resonate with the frequencies of quartz crystals as every cell in the human body has a geometric crystalline structure. The crystalline prevailing and transforming, molten entities in intimate combustion – echoing ooze of Ammonites to Ammolites – breaking new ground.



[1] Lynne Huffer - Foucault’s Fossils: Life Itself and the Return to Nature in Feminist Philosophy, 2015

Mark