Taking the form of mixed media painting and illustrated ceramic vessels, Astrid Terrazas’ (b. 1996) symbolic work re-writes worlds. With unflinching vulnerability, Terrazas conveys stories that push personal and communal trauma towards tangible healing. Working in an illustrative, highly detailed style, Terrazas’ multimedia paintings resemble a visual dream diary full of transient figures, archaic symbols, and illogical narratives. Merging dreamscapes, Mexican ancestral folklore, lived experiences, and unearthly transfigurations, Terrazas’ personal range of recurring motifs function as artifacts of protection and evoke universal metaphors of transformation. Terrazas received her BFA in Illustration from Pratt Institute in 2018. She has exhibited work at P·P·O·W, New York, NY; Y2K Group, New York, NY; Andrea Festa Fine Art, Rome, Italy; Marinaro, New York, NY; Fort Makers, New York, NY; Gern en Regalia, New York, NY; Front Gallery, Houston, TX; 98 Orchard St, New York, NY; Nicodim, New York, NY; Lyles & King, New York, NY; Art in Common, Los Angeles, CA; Deli Gallery, Mexico City, Mexico, and UTA Artist Space, Los Angeles, CA; among others. Her work has been featured in articles in Art in America, Art Maze Mag, The Art Newspaper, and The Brooklyn Rail. Terrazas was featured in 52 Artists: A Feminist Milestone at The Aldrich Contemporary Museum of Art, Ridgefield, CT in 2022 and Perhaps the Truth at Ballroom Marfa, Marfa, TX in 2023. Terrazas presented a solo exhibition with Lodos Gallery at Condo Mexico City, Mexico in April 2024, and is currently on view at FOUNDRY SEOUL, South Korea.
Astrid Terrazas
b. 1996
Lives and works in Queens, NY
Education
2018 B.F.A. Illustration, Pratt Institute, Brooklyn, NY
Solo Exhibitions
2024
FOUNDRY SEOUL, Seoul, South Korea
The Snake Sings Backwards, Lodos Gallery, Condo Mexico City, Mexico
2022
La Jardinera, P·P·O·W, New York, NY
Select Group Exhibitions
2024
Liminality is a sold place, Kates-Ferri Projects, New York, NY (forthcoming)
Aesthetics of Everyday Objects, The Cup, ATLA, Los Angeles, CA
2023
Elsewheres, UTA Artist Space, Los Angeles, CA
Perhaps the Truth, Ballroom Marfa, Marfa, TX
Hic Sunt Dracones, Deli Gallery, Mexico City, Mexico
Boil, Toil + Trouble, Art in Common, Los Angeles, CA (travelled from Miami, FL)
2022
The Tale Their Terror Tells, Lyles & King, New York, NY
52 Artists: A Feminist Milestone, The Aldrich Contemporary Art Museum, Ridgefield, CT
Prism, Y2K Group, New York, NY
Symbiopsychotaxiplasm, Nicodim Gallery, New York, NY
Leave A Light On, The Valley, Taos, NM
2021
Recovery, P·P·O·W, New York, NY
THE SYMBOLISTS: LES FLEURS DU MAL, Hesse Flatow, New York, NY
Speech Sounds, Real Pain, New York, NY
2020
Honest Gravy, Marinaro Gallery, New York, NY
Dreamscapes, Fort Makers, New York, NY
The Planter Show, Fort Makers, New York, NY
sunThread, Gern en Regalia, New York, NY
2019
Spree, Front Gallery, Houston, TX
Ceno Group Show, 98 Orchard St., New York, NY
2018
Everything I Could Carry, Shotgun Gallery, Dallas, TX
2017
Goods & Services, The Hollows Gallery, Brooklyn, NY
2016
Goodnight, John Boy, Locust, Brooklyn, NY
Beyond Frieze and Kiaf, there's a lot to see in Seoul in September.
Terrazas presents a new series of paintings and ceramic sculptures that together create a sacred space which honors duality and ideals of empathy and reciprocity.
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The artist has work at Art Basel Miami Beach with P·P·O·W gallery and the nonprofit Art in Common.
The art fair, now celebrating its 20th anniversary, features thoughtful work but shies away from taking chances.
The eleven paintings and single sculpture in Astrid Terrazas’s first solo show at P·P·O·W encompass far-reaching spatial and temporal terrain through powerful, graphic figuration. This is painting as storytelling, rebuilt from the grand traditions of muralism, retablos, and, it seems to me, Francisco de Goya via Paula Rego.
Returning to New York on Air Fair Weekend, I missed Independent, the Armory and Spring Break while nursing an airplane cold (luckily, not covid). However, as I recuperated, I visited several local downtown galleries, abounding with great autumnal energy.
Organized by Lucy Lippard, “Twenty Six Contemporary Women Artists” presented the work of women who had not previously had solo shows. This revival presentation, organized by the museum’s chief curator, Amy Smith-Stewart, and independent curator Alexandra Schwartz, expands Lippard’s roster—of mostly white, all cis-female artists—with a more diverse list of 26 additional female-identifying and nonbinary artists born in or after 1980.
The closing nights of the New York art world’s busy back-to-school week took revelers from Lower Manhattan to the outer edge of Queens
P·P·O·W is pleased to announce the opening of an additional gallery in Tribeca, on the second floor of 390 Broadway, adjacent to its primary gallery.
At the beginning of the 1970s, American artists were demanding more equitable representation in institutional shows. Organizations such as the Black Emergency Cultural Coalition and the Ad Hoc Committee of Women Artists staged protests over the Whitney Museum’s omission of Black and women artists in their exhibitions.
Our picks of the must-see seasonal outdoor and indoor exhibitions, from Wangechi Mutu and Brandon Ndife at the Storm King Art Center to Frank Stella at The Ranch
52 Artists: A Feminist Milestone celebrates the fifty-first anniversary of the historic exhibition Twenty Six Contemporary Women Artists, curated by Lucy R. Lippard and presented at The Aldrich Contemporary Art Museum in Ridgefield, Conn., in 1971. Opening on June 6, 2022, 52 Artists will showcase work by the artists included in the original 1971 exhibition, alongside a new roster of twenty-six female identifying or nonbinary emerging artists, tracking the evolution of feminist art practices over the past five decades.
Alive with personified creatures and borrowed symbols, Astrid Terrazas’s canvases function like tarot cards, hazy assemblages of meanings that orbit an iconic core.
I tend to treat painting as a personal folktale journal, and that helps keep me interested. I like to story tell what’s happening in my life in a non-direct way–casting a light haze on the actual happenings of my life and community within invented or fantastical worlds. The intent is to create different stages of consciousness, a dreamlike fluidity that connects past and present. Similar to a dream, the meaning is understood only if looked at peripherally.
Bodies surged toward the front doors of LAGO, whose opening bash had just reached capacity. The crowd pleaded desperately to security guards for entry. Someone began pushing and faces flattened against glass. Everyone was on the list, but no one could get in. The more intrepid guests circled around the back of the pavilion, toward the dark, brackish lake. Security guards rushed to pull us off planters. Through the windows, a golden pendulum by Artur Lescher and a James Turrell window, radiating neon pink, seemed unperturbed by the invading horde—or, for that matter, the steady throb of Tulum house on the dance floor.
P·P·O·W has big plans for Astrid Terrazas, whose multimedia paintings and illustrated ceramics, will be presented at a solo show and Zsonamaco fair in 2022