Maria Teresa Cortijo Bertiz, known as ‘Pachere’, has always felt a strong desire to work in clay. She began her dedicated work at the ceramics center in LaBisbal, Girona, in Spain. Discovering that she possessed a fine talent, she began to study drawing and painting with her professor Madam Carmen Maura in Irún, Guipuzcoa, also in Spain; and has continued her sculptorial education at the Accademia di Scultura e Pittura Raymond Riachi in Florence, Italy.
Pachere’s work shows notable vigor and maturity, and presupposes the beginnings of a brilliant artistic career. Between the abstract and the figurative, Pachere has been able to find her own road, full of a subtle inspiration of an art that is delicate yet at the same time strong. Mercedes Iglesias Barreda — Author
In this show, Pachere presents us with a series of works – animals, torsos, faces, hands – that constitutes a very representative sample of her artistic production.
She has told us that the creative process does not begin with an initial concept; it’s the material itself that guides her, imposing its teluric force as is only proper with this material, from which everything springs and to which everything must return. But then her own wishes impose themselves and the result, conmingled with the force of the material, becomes a reflection of her own interior world.
She does not present us with spaces that are tormented, or that are brimming with sentiment, as one might expect from a life as full of experiences as hers; what she offers instead is her own personal space to which she retires, to escape from the mundane problems of every-day life; an ordered place, tranquil yet powerful, like her horses and toros, a place that is authentic, without false appearances or formalisms, a place with decisive and well differentiated ideas.
Perhaps in all these works, one could find a guide to serve as a reference to their author: symmetry, or the search for order by means of that old and simple recourse, that infuses the feeling of an archaic yet modern object, of being a totemic idol yet with the appearance of a modern logotype. And there ia a tendency to monumentality, so that these forms occupy a well defined space, with weight and with external boundaries.
The process – and the sculptures – terminate with the casting process and with the patina that confers that final, impressive finish that their author wishes, offering us these works which are filled with sincerity, power and balance, free of any stridence, that allow them to be viewed without surprises, and that communicate to the viewer all their expressive and symbolic capacity.