Tere is not part of that multiform pseudo artistic ambience which – in these mediocre and bourgeois times – is found under the rubric of ‘art’.
Tere has long operated within the official world of the artistic academy but, for a long time, has chosen to place herself above goings on – often very distant from actual and felt aesthetic problematics – characteristic of certain cliques and official diffusion circuits for ‘artistic production’.
She has not sought the Market, has not expended time and energy to advertise her name and images, has not sought facile visibility, putting together ultra publicized exhibitions for Sunday afternoon tourists keen to take part in a ‘performance’, merely to pass the time in one way or another and foreign to the search for a cultural and spiritual experience.
Tere has kept herself apart from all that, placing herself by choice in the condition of an outsider.
Outside fashions and artistic currents today in vogue, and having already given up on tomorrow, Tere has kept the tiller firm on a constant and profound aesthetic intuition of the reality – understood as a perception intimately personal and infused with spirituality – of the phenomenological flux of things with passion, suffering and living – also physically – the weight as well as the exaltation of reality transfigured in a pure aesthetic representation.