The abstract paintings of Teresa Ribeiro
(...) the Teresa Ribeiro's exhibit, which we believe to be the most intimate of all the individual exhibits she has done so far. (...) the works displayed here, from the years 94 and 95, formed the experimental basis of the lot the painter later called Ecce Homo (94) and Reunions of an Oneiric Allegory (95) and were, therefore, not intended to be displayed. Thus, one finds in them the freedom of the artistic treatment not intended for show or sale, a freshness and truth that, curiously, many final works never manage to achieve because they are reconsidered and re-elaborated more often. In short, a little less spontaneous due to its very nature.
But, back to our initial considerations, lets us refer that these splotches of colour and lines that Teresa has casted to the paper, with no intention of consider it finished, set not only on chance but on reflections she developed in Madeira Island, lingeringly analysing and photographing the sides of abandoned fishing boats or in the docks, awaiting repair, filled with rich wooden textures, paints, varnishes and covered with animal or vegetable sea life. Once again, appearances are deceiving, for what the unprepared viewer could assume to be a random exercise, is indeed based on an extensive and serious work of research, storage and internalization of motifs (...) In this set we can find two types of pieces: a contained group done with sepia, black and whites, textured and transparencies and, in certain cases, covered with writing; and a more luxurious group, developed in strong blues and yellows, of intense pictorial voluptuousness, laid with palette-knife and broad brush. One could say Teresa Ribeiro presents us (perhaps without realizing it, or at least without having preconceived) what it would not be unwise to call of landscape of colours, tow classical paradigms: old and new, sadness and joy, making the transference of those decadent or repaired boats that so deeply touched her, to the painting (...).