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Women in Art: Teresita Fernández

Teresita Fernández: The Micro/Macro Master

During the daytime, Fata Morgana, a mirrored canopy made of 229 perforated golden discs installed above the walkways of New York's Madison Square Park, leaves dappled patterns of sunlight on the concrete tiles below. At night, it reflects the light of passing cars, turning regular city sights into stars. "I'm interested in making people think about what they're seeing or not seeing," Teresita Fernández Says. "And about why that is." She also explore the way seemingly opposed concepts, like darkness and light or the vast and the tiny, are intertwined. For a 2014 solo show in the cavernous space of MASS MoCA, she installed 40,000 tiny pieces of graphite along the walls; this past fall at Lehmann Maupin, her Rorschach-blot-shaped sculptures in ceramic, bronze, and concrete were both airy and densely heavy. "She wants viewers in a state of active attention," saus MASS MoCA curator Denise Markonish. If you spend time beneath Fata Morgana, for example,a s time passes, "the shadows shift and you understand more about how the earth rotates," Markonish explains. "It's a kind of sublime experience you get to be inside of."