what do they want ... all these women?
2016, two Pictures for the exhibition Grey at the Big Gallery, Dortmund, and Galerie am Donhof, Zwickau, Germany. The feeling of anxiety and worry takes place. Rahmenbedingungen (conditions) and Inside-outside refer to our unsettling times: Barriers and divisions - I'm in it, but my hands are out.
2016, oil on canvas, 95 x 75 cm
2016, oil on canvas, 70 x 90 cm
"Modern Madonna hides bizarre animals in her arms, and meets the gaze of the viewer confidently, sometimes searchingly.
Beauty and aggressiveness come together in this universe, inherently it becomes increasingly independent. "
Dr. Sabine Weicherding (from the preface to the catalogue "The Dortmunder group dialog" 2014)
2012, oil on canvas, 90 x 60 cm
2015, oil on canvas, 90 x 60 cm
2014, oil on canvas, 90 x 60 cm
2012, oil on canvas, 90 x 60 cm
what do they want ... all these women?
2016, oil on canvas, 30 x 30 cm
2012, oil on canvas, 40 x 40 cm
2013, oil on canvas, 40 x 30 cm
2012, oil on canvas, 30 x 40 cm
2013, oil on canvas, 40 x 30 cm
2016, oil on canvas, 40 x 30 cm
2012, oil on canvas, 50 x 40 cm
2012, oil on canvas, 40 x 30 cm
2012, oil on canvas, 40 x 30 cm
2012, oil on canvas, 40 x 30 cm
"We soon become aware of a female outlook that challenges the viewer, provoking questions and holding certain conceptions of modernity, or of „so-called modern“ painting up for scrutiny. Her passage to artistic maturity is achieved through a dichotomous imagination, personal and collective, that serve as a buffer against the troubles of the modern world and allow us to review her short but nonetheless past artistic career while providing continuity to her path of liberation."
José Berardo, President of the Berardo Collection
from the preface to the catalogue A Mãe das Mães, 2008
2011, oil on canvas, 160 x 150 cm
2008, oil on canvas, 150 x 160 cm
2008, oil on canvas, 150 x 160 cm
2008, oil on canvas, 150 x 160 cm
Associating and concretising characterise the works of Maria Teresa Crawford Cabral. The process of finding the final picture is determined by random elements – scars on the picture object, colour structures, imprints of the body. Cabral develops poetically surreal paintings from these unspecified circumstances, which remain puzzling in spite of their vividness. They are like a narrative kaleidoscope, which generates uncountable views without decoding the presentation (...)
Dr. Sabine Weicherding,
September 2012 ( from the preamble - Associations and concretising -)
2013, pigment and oil on canvas, 100 x 70 cm
2013, pigment and oil on canvas, 70 x 100 cm
2007, acrylic, pigment, graphite and oil on canvas, 90 x 75 cm
2010, oil on canvas, 180 x 160 cm
2013, pigment and oil on canvas, 90 x 60 cm
2011, acrylic, pigmend and oil on canvas
Two pictures:
the great-granddaughter of Monalisa
- Bisnonna, dove sei ? Sono qui -
and the portrait of Aster for the BP Portrait Award 2016 - National Portrait Gallery (not selected)
2016, oil on Thin cotton, 50 x 40 cm
2016, oil on canvas, 100 x 150 cm
"The White Pictures: this series, which is thought to be as yet unfinished, is united by the fact that each picture tells a pared-down story. The works say what gives them the title - in some of them is just one word, like Mamã or Protest. Unlike almost of the other series, where the narrative is multifaceted, plural and ambiguos, here the representation is direct, pared to the minimum and clear, which may be why the pictures are white."
Dr. Rui Carita from the catalogue A Mãe das Mães, 2008.
2007, expermental mixed media with oil, on canvas, 98,5 x 96,3 cm
2006, oil on canvas, 95 x 75,8 cm
2006, oil on canvas, 80,5 x 73,5 cm
2006, oil on canvas, 95 x 75 cm
2006, oil on canvas, 95 x 75 cm
2007, oil on canvas, 95 x 75 cm
„ The adult male figure is therefore partially omitted in Maria Teresa's works, and if any allusion to it can be discerned other thanin blurry backgrounds, this is due to the appearance of pregnant women and in rare cases of children. These women seem to have become pregnant on their own, in certain situations the man may seems to have been replaced by animals of markedly male symbology, such as cockerels or bulls. In other cases, however, some animals also possess a female symbology, such as elegant but agressive herons in flight.“
Dr. Rui Carita, from the catalogue A Mãe das Mães, 2008
2013, oil on canvas, 140 x 105 cm
2003, dull acrylic on canvas, 243,5 x 201,5 cm
2001, dull acrylic on canvas, 219,5 x 213 cm
2011, pigment, acrylic ang graphite on canvas, 160 x 150 cm
2007, mixed media and oil on canvas, 99,2 x 68,5 cm
2011, mixed media and oil on canvas, 60 x 40 cm
2015, graphite on paper, 48 x 36 cm
"(...) The truth is that I do not know what statements my pictures contain. Maybe each of them is just only another creature. I do not ask about their sense of being, just as I do not ask about the sense of being of a flamingo or a cactus. I make "things" out of unclear ideas."
Maria Teresa Crawford Cabral
( from the interview /Urban Riche Gallery, 2016)
2013, oil on canvas, 70 x 60 cm
2014, oil on canvas, 80 x 100 cm
2010, graphite and crayon on paper, 42 x 30 cm
2010, oil on canvas, 120 x 140 cm
2003, dull acrylic on canvas, 232 x 200 cm
2007, oil on canvas, 95 x 75 cm
2015, graphite on paper, 48 x 36 cm
emptiness does not exist
2014, oil on canvas, 90 x 60 cm
"(...) The truth is that I do not know what statements my pictures contain. Maybe each of them is just only another creature. I do not ask about their sense of being, just as I do not ask about the sense of being of a flamingo or a cactus. I make "things" out of unclear ideas."
Maria Teresa Crawford Cabral
( from the interview /Urban Riche Gallery, 2016)
2010, mixed media and oil on canvas, 95 x 75 cm
2010, oil on canvas, 50 x 40 cm
2004, oil on canvas, 206,5 x 200 cm
2005, oil on canvas, 2014 x 207 cm
2001, dull acrylic on canvas, 206 x 180 cm
2015, graphite on paper, 43 x 30 cm
2015, graphite on paper, 48 x 36 cm
2012, graphite on paper, 42 x 29,5 cm
„ (…) The chronological sequence that I was shown offered me a look into an early experimental abstract phase and ended with the complex series entitled Os treze Prétlonista (the Thirteen Pretlönists), in wihch the painting is cold, austere and charged with an extraordinary chromatic vibration. Starting a new phase in 2001, this promising artist set out to re-learn the processes of pictorial expression, re-utilising her capacity for figuration and exploring the possibilities of volume. Maria Teresa's admirable painting of human form celebrates explosive and somewhat paradoxical carnality, combined with an ever present subtlety of gesture and nudity.“
José Berardo, from the Preamble to the catalogue A Mãe das Mães, 2008.
May 2003, Dull acrylic on canvas, 215 x 202 cm
2004, oil on canvas, 206,5 x 200 cm
2005, oil on canvas, 200,5 x 200, 1 cm
2005, oil on canvas, 207,5 x 152 cm
2002, dull acrylic on canvas, 200,5 x 179 cm
2003, dull acrylic on canvas, 232 x 200 cm
2001, dull acrylic on canvas, 249 x 204 cm
2001, dull acrylic on canvas, 261 x 200,5 cm
2005, oil on canvas, 214 x 204 cm