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Teresa Peters ︎︎︎


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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


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Writings ︎︎︎
2022 ++


Portage 2021 Press ︎

  



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





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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




Mothermother Archive Launch 2020


Teresa Peters ECHOBONE 2019 – Iteration #3



Artists contribute writings on their iteration ︎


The mothermother project, threads women artists into a non-linear evolving web. In revolutionary times it is imperative to be part of a platform that promotes women artists in Aotearoa. My ceramic work ECHO BONE 2019 finding immediate echoes amongst Monique Lacey’s crushed modernism, Inga Fillary’s dirt works, and Natalie Tozer’s future fossils. As I flew around our sweet world last August 2019 dreaming of pink palaces in fantasies soon to be the reality of the French Riveria’. ECHO BONE was left hanging in it’s own pink palace, in exhibition as part of the Creative Studio Residency 2019 at Studio One Toi Tu.

A visitor described ECHO BONE 2019 as an Italian sixties sci-fi space ship. He then proceeded to expound the tale of his recent two-month coma, after being hit by a truck in Milan. After which, he woke up as if in a Fellini meets David Cronenberg film and was to learn that a high percentage of the bones in his body has been replaced with titanium including his spine.

After wading through the 2019 Venice Biennale’s May We Live in Interesting Times’ apocalyptic musings for a million hours, legs as jellyfish. Natalie Tozer called me in Venice around 2am. We discussed that Judy Darragh had invited ECHO BONE into the mothermother project’s third iteration. We talked into the humid night deliriously about Katja Novitskova’s Pattern of Activation (Mutants) 2018 and Earthware Series 2019, that I had just seen at Hamburger Bahnhof’s Preis der Nationalegalerie 2019. The ECHO BONE series is made to evolve in rhizomic fashion featuring hundreds of possible interactive entities. Back in my Ponsonby road ceramics studio I selected a darker more intense body this time.

ECHO BONE is interested in bodies. Earth bodies, forming and transforming. Chemical compounds and molten entities, in intimate combustion. ECHO BONE ‘excavates primordial totems’, as we move through the Anthropocene, the epoch where human activity took dominant effect on the environment My ceramic installations are interested in rhizomic multiplicity, nomadic transformation and the tentacular. The merging of biomorphic and anthropomorphic forms. Ceramics is alchemy. Earth, water, air… fire.

Mothermother #3. ECHO BONE’S contemporary ceramic installation exhibited alongside Judy Darragh and Kelly Pretty. These three diverse practices find their marriage all rooted in contemporary interpretations and subversions of craft. Judy Darragh’s trade mark utilisation of unexpected craft and repurposed materials. These gemstone works bound in a cosmic kaleidoscope of fishnet stockings and neon spray paint, Kelly Pretty’s delicate embroidered interpretations of her son Hieronymus’s urban drawings. Her life, art and gardening practice - holistic. A few weeks earlier I had seen the real deal Bosch’s Gardens of Earthly Delights 1515, in an exhibition of the same name at Martin Groupius Bau, Berlin, featuring many earthly beauties.

While continuing to ponder earth matters. It seemed only obvious to invite and align my work with that of Natalie Tozer herself. Our work crosses terra territories. Both deeply interested in prehistoric/futuristic fossils and findings and everything Timothy Morton. We were aptly joined by the apocalyptic paintings of Emma Smith, as the fourth iteration of the mothermother project darkly mused on the fate of our mother… Mother Earth.