Back To Top

Artist

Gallery Exhibitions

Museum Exhibitions & Projects

Store

Artist Bio

Teresita Fernández

PRESS

The Brooklyn Rail

May 1, 2017

PRESS

The Art Newspaper

March 4, 2017

News

The future of the arts is Latinx: Q&A with artist Teresita Fernandez

October 5 2016

PRESS

Art21

September 24, 2016

News

Discovering the World From Nature's Many Perspectives Hyperallergic

December 31 2015

News

Women in Art: Teresita Fernández

November 30 2015

News

At Grace Farms, Encountering Art at Every Bend New York Times

November 28 2015

News

Interview with Sculptor Teresita Fernández Aesthetica Magazine

November 24 2015

News

Sculpting the Public: Teresita Fernández Wants You In Her Work Modern Painters

October 31 2015

News

Grace Farms Draws Praise Stamford Advocate

October 19 2015

News

The Spiritual and Spectacular Meet at an Ultramodern Community Center in Connecticut New York Times

October 16 2015

News

Poetry Under Fata Morgana Organized by Teresita Fernández and Emanuel Xavier

September 17 2015

PRESS

ArtNexus Teresita Fernández. Fata Morgana.

August 11, 2015

PRESS

Arte al Dia International

June 2015

PRESS

Cultured Magazine

April 18, 2015

PRESS

WSJ Artist Teresita Fernández Transforms New York’s Madison Square Park

March 31, 2015

PRESS

Departures Magazine Artist of the Moment: Teresita Fernández

January 9, 2015

PRESS

Gothamist Massive 500-Foot-Long Canopy Coming To Madison Square Park

November 11, 2014

PRESS

New York Times

November 6, 2014

PRESS

Modern Art Notes Podcast

August 18, 2014

PRESS

W Magazine

July 17, 2014

PRESS

The Brooklyn Rail

July/August 2014

PRESS

Sculpture

November 2013

PRESS

Art Bahrain

Fall 2013 - Winter 2014

PRESS

Architectural Digest

October 2013

PRESS

Modern Painters

October 2013

PRESS

South China Morning Post

September 26, 2013

PRESS

Whitewall

February 1, 2013

PRESS

W Magazine

October 2012

PRESS

The Wall Street Journal

September 14, 2012

PRESS

Artinfo

September 12, 2012

PRESS

Bloomberg

September 5, 2012

PRESS

Whitewall

November 30, 2011

PRESS

W Magazine

November 30, 2011

PRESS

The New York Observer

September 19, 2011

News

White House Appoints Artist Teresita Fernandez to the U.S. Commission of Fine Arts

September 2011

PRESS

Art in Asia

August 31, 2011

PRESS

Artdaily

May 26, 2011

PRESS

artdaily

January 31, 2011

PRESS

Artinfo

November 16, 2010

PRESS

Financial Times

April 9, 2010

PRESS

Bob Magazine Issue 67

February 28, 2010

PRESS

Artforum

February 28, 2010

PRESS

Art Lies

February 28, 2010

PRESS

Monocle

October 31, 2009

PRESS

Anne Stringfield Interview

October 31, 2009

PRESS

David Norr Essay

October 31, 2009

PRESS

Dave Hickey Essay

October 31, 2009

PRESS

Annette DiMeo Carlozzi Essay

October 31, 2009

PRESS

The Business Times

September 19, 2009

PRESS

Artforum

August 31, 2009

PRESS

St. Petersburg Times

August 23, 2009

PRESS

Dallas Morning News

August 8, 2009

PRESS

...might be good

February 6, 2009

PRESS

Blackbird

August 31, 2008

PRESS

Vogue

April 1, 2007

PRESS

Tema Celeste

October 22, 2005

PRESS

USA Today

September 20, 2005

PRESS

ArtNexus

June 1, 2005

PRESS

ArtReview

April 1, 2005

PRESS

Art + Auction

March 1, 2005

PRESS

Art in America

November 1, 2003

PRESS

Art in America

March 1, 2003

PRESS

Art in America

December 1, 2001

PRESS

ARTnews

September 1, 2001

PRESS

New York Times

March 21, 1999

Bob Magazine

Issue 67


Bob Magazine
Issue 67, 2010

Art & Space: Teresita Fernández
By Liz Kwon

Teresita Fernández was born in 1968 in Miami. She received her BFA from Florida International University, Miami and her MFA from Virginia Commonwealth University, Richmond. She is known for her architectural installations that have involved everything from rooms of colored light and false ceilings to empty swimming pools and 17th century garden design. Fernández has exhibited throughout the United States with solo shows at the Museum of Modern Art, New York; The Corcoran Gallery of Art, Washington D.C.; Institute of Contemporary Art, Philadelphia; SITE, Santa Fe; and the Museum of Contemporary Art, Miami. She lives and works in New York.

Liz Kwon: You've explored graphite as a medium of your work. Please tell me how you became interested in this material; and how your choice and application of it show an evolution of materials in your work.

Teresita Fernández: The work I'm doing uses graphite in many ways – from the drawn line to precision-machined slabs, to its natural state. I became interested in the history of the drawn landscape. My reference is to a specific site: the valley of Borrowdale, in the Lake District in Cumbria, England where graphite was first discovered in the 1500s. I became fascinated with the idea of the actual landscape as physical drawing, the whole of Borrowdale sitting on a solid bed of graphite. I was looking at it as a kind of land art, and enormous drawing in the landscape.

Liz Kwon: For the Epic installation, how did you begin developing your forms? Your piece reminded me of the artists whose works are inspired by traditional East-Asian black ink paintings.

Teresita Fernández: Epic looks like a cloud formation or meteor shower: the image literally materializes itself. I construct an image by dissolving these many points of reference, like I'm spreading it or stretching it out in order to see it in a new way. It's a distortion with a kind of Mannerist sensibility, the image of a natural phenomenon is disfigured, diffused, evaporated.

Liz Kwon: Are you inspired by certain architecture or landscape? What does quality of it influence your studio processes?

Teresita Fernández: I've always been inspired by architecture in the sense that it is the ultimate form of immersive, constructed experience. My earlier work especially is directly informed by this sense of moving through rooms and between these thresholds of interior and landscape. But the most important parallel for me between landscape, architecture and sculpture has less to do with what something looks like or its sheer size and more to do with an ambulatory viewer. The work is always understood by a viewer on the move.

Liz Kwon: I'm wondering about the process of commission work, like Stacked Waters (2009) and Hot house (2008). What are the pros and cons of working with design I construction team for your installation?

Teresita Fernández: I often do large-scale commissions, where I collaborate with architects, fabricators, technicians and lighting designers to complete a work. I am especially interested in how these works are viewed and used by people once they enter the public realm, often outside of a traditional museum setting.

Liz Kwon: You've been dealing with the notion of 'space' and 'physical experience' in your installation. How are they evolved throughout your artistic career? How do they relate to your techniques and theoretical aspects?

Teresita Fernández: My ideas hinge on the physical and psychological presence of the viewer. In many ways, it becomes about the event of looking and a consciousness of placing oneself in a figurative, constructed and utterly subjective 'landscape'. The conceptual framing of my work is understood sensorially, as an extension of one's body. Vision by its very definition implies distance, but I'm more interested in 'the act of looking' as imposing, deliberate, and not passive.