Waterfall, 2000

When Teresita Fernández chooses the photographs that document her works she usually favors those that include visitors. For the artist, the relationship with the eyes and body of each potential viewer represents the condition through which the work manifests itself and acquires meaning. As she has stated, quoting Gaston Bachelard, her intention is to provoke in viewers a condition of “inner immensity,” that expansion of the intimate space that emerges from the contemplation of familiar objects. This concept, which defines the experience of a daydream, capable of transporting someone from physical reality to a condition that approximates infinity, is fundamental to the poetics of the artist. [...]