TERESA TORRES de eça(also known as TERESA TORRES and TERESA EÇA)
in my studio I build narratives with artistic processes such as illustration, drawing, ceramics and engraving. I make ceramics because it connects me with Earth. With collectives, we make visible the voice of others through arts and crafts.
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Book Underthelights, 2016 ( Private collection)
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Currently, I explore notebooks as a visual support. I start from diaries, travel notes, contemplation of places or from sketched ideas and I let the drawing, painting and collage flow without any prior objective.
The work happens at its pace, sometimes taking years to complete. I also work with collectives of activists in socially committed artistic actions, I am interested in participatory arts, crafts and design; learning through the arts, and ecofeminism. I was born in Portugal, 1961. I have a Degree in Visual Arts from the Faculty of Fine Arts of Porto (1980-1985); Masters and PhD in Art Education at the University of Surrey Roehampton (UK, 1999-2004), Postdoctoral studies in the Center for Child Studies, University of Minho (Portugal, 2010). |
I worked as visual arts teacher and teacher trainer in Portugal for many years. Currently I coordinate the research group on Arts, Communities and Education (Griarce) and I am co-editor of 3 art education journals in Portugal. See here my CV as a researcher in arts education.
I develop my experiences with visual narratives (painting, drawing, collages, artist books), ceramics and etching.
I experiment alone in my studio and engage myself in participatory art practices with other people.
alternative1 MANIFESTO
Groups | Collectives
Between 1999 and 2000 I worked with diverse artists, we created the Alternative 1 Group; with this group we carried out the 'Earth without Borders Project' and the Alternative1 Manifesto.
Between 1998 and 2003 I was also part of the Renaissance 2001 group, with some of their members we created the UTUTU/eARTh Projects. Ututu/eARTh was an experiment of negation of the role of creators and audience, the event was not intended to be a spectacle with performers and viewers but rather an artistic form of enactment without an audience, since every person physically and virtually present in the room had a role to play, a unique role in the reconstruction of consciousness. The project coordinators’ role could be interpreted as a shamanic one, creating a social and psychological environment in order to express individual and collective forces. Time and place were important concerns in Ututu/eARTh, we wanted and succeeded to work in a ‘telepresence’ way (Telepresence is a term derived from virtual reality describing the sensation of feeling in a different place or time by ‘telepresence’).
After 2010, I joined the arts and arts education collective C3 . A multidisciplinary group of artists; researchers and educators. And I started to work with participatory projects in arts and in arts education.
I develop my experiences with visual narratives (painting, drawing, collages, artist books), ceramics and etching.
I experiment alone in my studio and engage myself in participatory art practices with other people.
alternative1 MANIFESTO
Groups | Collectives
Between 1999 and 2000 I worked with diverse artists, we created the Alternative 1 Group; with this group we carried out the 'Earth without Borders Project' and the Alternative1 Manifesto.
Between 1998 and 2003 I was also part of the Renaissance 2001 group, with some of their members we created the UTUTU/eARTh Projects. Ututu/eARTh was an experiment of negation of the role of creators and audience, the event was not intended to be a spectacle with performers and viewers but rather an artistic form of enactment without an audience, since every person physically and virtually present in the room had a role to play, a unique role in the reconstruction of consciousness. The project coordinators’ role could be interpreted as a shamanic one, creating a social and psychological environment in order to express individual and collective forces. Time and place were important concerns in Ututu/eARTh, we wanted and succeeded to work in a ‘telepresence’ way (Telepresence is a term derived from virtual reality describing the sensation of feeling in a different place or time by ‘telepresence’).
After 2010, I joined the arts and arts education collective C3 . A multidisciplinary group of artists; researchers and educators. And I started to work with participatory projects in arts and in arts education.
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AWARDS
- 2019 - ‘International Ziegfeld Award’ , United States Society for Education through Art; - 1988 - Prémio Novos valores da Cultura, Portugal ACADEMIC Publications - Publications (See here Academic Work). GRAPHIC NOVELS - 1989 - | ‘A Esfinge'; - 1988 - | ‘Antares’; - 1987 - | ‘Antonin e a floresta mágica’; - 1987 - | ‘O segredo do rei Ramiro’. |
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