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Teresinha Soares — Morra usando as legitimas alpargatas. It came to me as a cry. It was an organic need to jump, to show, to speak and to fight for what I thought was right.
It was a very intimate thing, I was very attached to art. Teresinha Soares — Um homem e uma mulher. To have courage to show herself, to feel up to a man, to question—including her erogenous zones—to a emancipation, pleasure, encounter. An emancipated personality, Soares is also a writer and was the first banker and first elected councilor of her hometown, as well as a public servant and teacher. Her work gained immediate recognition upon its public exhibition.
From her first scrawl to her performances, the female subject has always been her leitmotiv. The artist, who imbibes art as inseparable from life, approached diverse artistic medias to reveal the different notions and concerns of the female body: domestic life, biological cycles, sexuality, maternity, fears, victimization and lack of equalization. You defined your work during an interview as a cry, a need to speak for what you believed or bothered you. Do you think that the relevance of your production goes against this current urgency, perhaps due to the world crisis and that of our country, of facing the artistic gesture as endowed with a transforming power?
What can your work say to those, regardless of gender, who come to visit the exhibition? I recall my thoughts written in the catalog of my solo exhibition that took place at the Petite Galerie in Rio de Janeiro in Until yesterday, I was looking for explanations. Today I just want To eat and excrete things.
