Abstract and irregular it might be, but this geometric artwork is as comforting as a picnic blanket. On first glance at the reproduction, you may not realise why. But getÂ closerâ€¦
This sharp, monochrome composition, which promises so little on screen, is in fact rendered in a dense yarn weave of yarn. Black/grey/white may be tonally cool, but the medium is warm.
But to call it a pattern, would be misleading. Patterns tend towards symmetry and Terrazas tends to resist the lure of simple elements which balance one another.
Yarn is glued to a waxed board in a technique borrowed from the indigenous Huichol people of the West of Central Mexico. It makes the challenging design appear organic, inevitable.
Although you will want to, you need not touch the surface to appreciate the intensity delivered by thousands of woollen strands pulling at the centre of this fragmented target from all directions.
The result is almost too much to get your head around. Like a piece of improvised music, Terrazas gives us just enough order to keep us on the room, just enough disorder to keep us on our toes.
It reflects this Mexican artistâ€™varied background in architecture, in graphic design and in museology. But surely none of these disciplines offer the freedom of contemporary art.
Terrazas offers the freedom of the blank surface with the satisfaction of a provisional structure in which everything locks into place. Like the elements of a building or a logo.
Incidentally, he co-created the design for the Olympic Games of Mexico 68. This too has echoes of native central-American craft. You could say it reverberates, as does each work in the current show.
Eduardo Terrazas can be seen at Timothy Taylor, London, until October 3 2015.