The city - Teresa Lascano
The city that grows in the need of rigorous giant geometrical forms of its utilitarian architecture, originates a vision with unavoidable formulations for changing the artistic concept in order to crystallize it. This characteristic had -has- to experience the alternative to construct forms and colors, composition and details of painting. And one of this manifestations is offered in the exhibition assembled by Teresa Lascano at the Zurbarán Gallery.
It is a diagramed city with violent contrasts between light and shadow, without penumbrae intermediates or sensitizing degradations. A technique of application of chatting colors, cutting in the air the outline of the convent and the bridge, the terrace or the Plaza San Martín, just as those few chairs that appear to have taken out their shapes to sunbathe or the grilled picture of a grating.
Arid, arduous is her synthetic work, and mostly unpleasant because she must let go of all the adornment that could suit her in the street of communication with the spectator, and in that way bare of sentimental support as it is, her painting is closer to the scheme than to explanation. It's a short walk from there to De Chirico's metaphysic.
She faces her decision without doubt, without looking for a refugee in the picturesque in the themes that she focuses, and sometimes she has the aerial vision of our more packed streets.
The name of Teresa Lascano is a new one in our galleries, though taken specially in the recent national saloons because of the impact of her modality. There is no doubt than with a little she has achieved a lot, as to get the imposition of the vision of a city, that once it has discovered, it begins to take part of the emotional nomenclature which is the memory of the "porteño" (person who is born in Buenos Aires City) who confirm, as it occurs here, the implacable evolution of the forms that the art discovers to make them gentle.
Eduardo Baliari, El Economista, Mayo´83

"Assemblage"'s difficult language...
"The word 'Assemblage', in visual arts, indicates the combination, on the work's surface, of heterogeneous elements (different materials, apart from the considered traditional for fine arts uses), harmonized and homogenized by the creator's technical skill, as well as by his/her esthetical inspiration. Seeing Teresa Lascano's works it must be recognized that she widely achieves those goals. Paint to cover different surfaces, accomplishes a fundamental role in this gender of works.
This is the homogenization factor. And if Teresa Lascano doesn't brighten up the palette, it's owed to her full conscience of the risks that would rise if she did; since what embodies an "assemblage" is by nature heterogeneous, and it is convenient, in consequence, to use low tonalities, to avoid any possibility of discordance. The artist accomplishes this premise, by force, and that explains the satisfactory results of her works, that speak, in theirs contents -and even in their denominations- of endless yearning of freedom.
And it is curious that this should transcend, precisely, to the nature of works that, in one sense, are strongly conditioned by the material factor, or so to speak, by the materials they are made of. Creative capacity, inventive -one of the forms of the creator's internal alchemy- she doesn't lack.
César Magrini, "El Cronista Comercial" August '88

Imagining Cities
The cities framework has been a favorite topic for artists and architects, it was the basement for the utopian thought of the first vanguards. They built the urban image of a happy future where the sun reflects each spatial articulation.
Teresa Lascano (1947) shows in the Zamora Gallery, Guido 1831, possible images of imagining cities. The circular radiant shape of the sun - just like the constructing artist Torres García - lighten the space structuring a picturesque framework of the city. The framework is cutting by straights and diagonals covered by colored material by way of vitraux which transmit an harmonic image of the space.
Lascano began to work in the informality, movement which had its representatives in the country in the sixties. She received from a big master as César López Claro the love for the material and the "collage". Outstanding are her little works "La Huella" and "De cal y arena" where she displays the using of untraditional materials.
Triptychs of canvasses and frames with the application of corrugated cardboard, are an interesting resolution. As an innovation of her exhibition, the last work stands out, in which the familiar history appears as a thematic support. Books, grained papers, scientific texts, microphotographs, were used to create an original vision within a general constructive approach.
Rosa Faccaro, Clarín, Septiembre ´98