Eduardo Terrazas’s work is reminiscent of a geographical map. The meticulously drawn lines in coloured pencil form offshoots across the paper like coordinates. Entitled Constellations 16.34, the abstract form of the work is reminiscent of constellations on a clear night sky, at once present and absent. Rather than locating a specific navigation, his drawing tends perhaps to express an intuitive journey into the universe – through one’s inner self. Thus, Terrazas also maps a cosmic order, meditating on nature’s evolution of those micro and macro systems that constitute man’s basis of existence.

Eduardo Terrazas (1936) is a Mexican creator who has taken genuine interest in studying and contemplating the complexity of our contemporary world. Spirit, beauty, order, and technique are the cornerstones that define his visual universe.

Architect by training, he obtain his Bachelor’s degree at UNAM Mexico, and then a Master’s, at Cornell University, New York. But his endeavors –for over fifty years- include an array of disciplines: design, architecture, urban and regional planning, visual arts and environmental issues, responding and reflecting creatively to our changing reality, proposing alternate methods of inhabiting our world, different forms to relate one another, new ways to portray and understand our cosmos.

Terrazas sees his transit through these disciplines, as different pathways that nevertheless run parallel, as resources to approach concerns that range from philosophy to science, in benefit of the social well being and the environment.

His fascination for the Mexican indigenous techniques is visible in many of his works. He was the co-author of the Olympic Design and Identity Program Mexico’68, working for architect Pedro Ramírez Vázquez, President of the Organizing Committee of the Games of the XIX Olympiad in Mexico in 1968.

His first exhibition Tablas (1972 Palacio de Bellas Artes, Mexico) presents a series of compositions focused on basic forms, all of them produced with the Huichol technique (wool yarn on wooden board, covered with Campeche wax), a joint collaboration between Terrazas and the Huichol artisan Santos Motoaapohua de la Torre de Santiago.

Terrazas broad artistic production includes works as heterogeneous as his most iconic series Possibilities of a Structure (1974 - ) with it subseries: Cosmos, Nine Circles, Diagonals, Grid and Bar Code, a pictorial investigation of the characteristics that allows an specific structure be developed and transformed to the infinite. He has at this moment more that 375 works only from the Cosmos subseries.

From that time on, he has produced more than 20 different series like: Exponential Growth, Organic Growth, Multiplications, The Predicament of Mankind, Deconstruction of an Image, Everyday Museum, Imagen México, Traces, Universe, Toscana, and Gravity among others.

Terrazas work serves as a testimony of his interest in thinking in an interdisciplinary way to establish visions of our contemporary world through universal visual languages. Image after image his work seems to tell stories of the geometry underlining our Cosmos.