In the works by Eduardo Terrazas (b. 1936, Guadalajara), vibrant play with scale, unlimited combinational possibilities and equilibria in movement are all shapes that unfold in a succession of irradiations that exert a magnetic effect on the human gaze.

Since the mid-twentieth century, he has produced a body of work that portrays the generating principles of the cosmos, integrating strokes, figures and tonalities to create a dynamic painting system that depicts the universe as a force-field.

Its components are rigorous but open shapes, awash in possibilities, where variety and repetition come together in a felicitous gear assembly that can depict matter’s rhythmic versatility alongside our own perception mechanisms. His plastic vision has tended to a decisive idea that explores limit as fundament for deep-dives into multiple formal horizons.

Terrazas’s pieces present a cosmic dimension but originate in a recognizable space of Mexican modernity within which the particular and the universal converge. We see the symbiotic confluence in traditional materials he uses, such as wool yarn and wax from Mexico’s melipona bees. Above all, he portrays an integration between art elements from Mexican indigenous communities and the contours of international geometric abstraction.

Despite this formal abstraction, we can also derive symbolic significations from his rotating figures. His colorations’ expansive agility may embody a notion of growth inserted into the multiple equilibria of the cosmos. It is an image of incessant activity from a universe in unending self-creation.

His astral landscapes also leave space for the human, the experience that comes from taking in these immense spaces’ infinitude from our mortal condition’s earthbound and transitory perspectives. Given the human gaze’s fleeting nature, the artist’s woven fabrics sparkle like a fragment from the heavens, an outlook for contemplating eternity, luminous icons of infinity.