In the COSMOS of Eduardo Terrazas several times coexist simultaneously: the westernized and the non-westernized; the fast and the slow; the relationship with the environment and the relationship with oneself. COSMOS is one of several series in which this artist has been working for decades (others are more recent) and who manifest a clear interest in operating from a logic that bets on permanent inquiry, without closure, and insistence on fundamental issues within your universe

The first works that he carried out under this name, or rather under this notion date from the early seventies; extremely fertile moment in his thought and in the development of a flexible practice that moves with ease between the fields of architecture, design, urbanism and art. In the field of art, the language that Terrazas chose as a form of thought and expression is that of geometric abstraction. From there, he displays various images that essentially start from the drawing: a drawing on an intimate scale, a daily work on a sheet or a notebook that is later modified in size, technique and color, making part of one or another series. Throwing to the world new forms and images that try, in their words, to contribute to create a perception of the world more congruent with the global reality, at the same time that they open a space for reflection and contemplation that is fully present time. Here and now.

In a time acosmic, as would the philosopher Michel Onfray, that disassociated with the surroundings nature and the cosmos of which we are part, in the presence of the dehumanization that this causes and not to leave to be part of it, Terrazas establishes one link essential forhis work and his thinking with the task craft. In particular, with the the craftsman Huichol. And if I speak in the first person is that actually this contact and collaboration of decades is given from the known to Santos Motoapohua of the Tower of Santiago. From him he learns to applythe technique that used until today in day. The technique is characterized by using tables or racks of wood covered by wax of Campeche to which is applied with great detail strands of wool that will form sections of colored and creating scenes colorful that emerge indifferent tonalities, thanks to the positioning of the thread. In this meeting, it gives one accompaniment to leg and forth from one thought creative and not from the folclorismo. The works of Terrazas are testimonies of the time invested and are also the result of a "put in situation" to his works. Some were produced in the artist's studio in Mexico City, and many others in a town in the Sierra Madre Occidental where Santos lives with his family, maintaining another relationship with the time of the others.

For El Eco, Terrazas developed an intervention to the architecture of Mathias Goeritz from the location of a mirror of water in the courtyard of the museum. The shape replicates the geometry from which the COSMOS series starts in a version that turns the place into a sort of sanctuary, reflecting the sky on its surface, and making us sharers in an expanded look. This piece, like other series in which Terrazas works, emerges from a hybrid position between the artist and the architect, understanding the symbolic and spatial needs of the place creating an environment for the conciliation of non-utilitarian time that being-livingIt allows. The actuality of his works has to do with a very clear intention to contribute to the world of ideas and perception from the forms, from the beauty that comes with an awareness of being part of something bigger than us.