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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


Previous ︎︎︎





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




RENDEZVOUS

PGDipFA 2015






RENDEZVOUS 2015 ‘excavates primordial totems’, as we move through the Anthropocene, the epoch where human activity took dominant effect on the environment. Navigating fetish and value in times of late capitalism and environmental dystopia. These bodies of subverted totems, look to L ‘informe’s interest in destroying categories and knocking art off its metaphorical pedestal. Interested in an esoteric, or Dada-esque poetry of connection and touch, converses between forms that could have come from a strange exotic, maybe pre-historic, jungle. Often sexualized, sometimes seductive, these curious entities evoke an uncanny juxtaposition between biomorphic, anthropomorphic or monstrous forms. Tensions draw between logic and alternate measures. They employ the scientific practice of fieldwork and archaeology, juxtaposed with an exploration into the expanded field of sculpture and post – minimal practices (eco- feminism, land art etc). Timothy Morton suggests a re-evaluation of ecological thought, looking past the construct of “nature” towards “Dark ecology”, somewhat like the abject of ecology, its “irony, ugliness and horror.” Morton looks towards a perspective that embraces diversity, magic and the abject, and is weary of human refinement and ideals.