Teresa Palma Rodrigues: The Memory of Place

By MARTA MANTECÓN

 

Teresa Palma Rodrigues’ drawings bring together elements that have to do with the individual and collective memory of known spaces that have been abandoned or have a specific identity, often linked to a working-class past. The artist carries out fieldwork consisting of collecting and gleaning images, objects and traces that will later form the backbone of the iconography of a series of drawings in watercolour and Indian ink of the characteristic ceramic earthenware plates decorated with the motifs known as Estátua or Cavalinho, from the Museum of Ceramics in Sacavém, near Lisbon.

Teresa Palma Rodrigues works with the rest, reconstructing and imagining what they were like before the passage of time broke them, but making visible the empty hole corresponding to the fragment of earthenware found, as a way of translating that loss or crack in the past that can no longer be recomposed. The memory of the place is again the central axis of another work inspired by the poems that Leonor de Almeida wrote, under the pseudonym of Alcipe, during her long reclusion in the Convent of São Felix de Chelas. The artist sketches a set of landscapes punctuated by traces taken from her field notebook, with which she generates a poetic collision between past and present where the play with the transparent layers of watercolour translates the thickness of a memory that concentrates heterogeneous times, fiction and reality.

 

Top image: TERESA PALMA RODRIGUEZ.

Estátua ou Cavalinho, 2016. Watercolor on paper, 50 x 65 cm ENQUIRY

Estátua ou Cavalinho, 2016. Watercolor on paper, 50 x 65 cm ENQUIRY

TERESA PALMA RODRIGUES, Novas Poesias de Chelas #1, 2019. Watercolor on paper, 101 x 67 cm
TERESA PALMA RODRIGUES, Falsa Ruína #2, 2016 Watercolour on paper, 67 x 101 cm
TERESA PALMA RODRIGUES, Falsa Ruína #5, 2016 Watercolour on paper, 67 x 101 cm