“With a vigorous hand, Teo Puebla builds landscapes, hardly without rest and with an unusual passion. The gestures are emphasized. The brushstrokes threaten to get out from its space used as a frame. The roughness affects the colour and evokes its symbolic condition. Finally, each element is placed at the desired location. Gesture and colour complement each other. And all in all, since maybe the artist is aware that he is building scenarios for man forsaken in its loneliness and oblivion.


... Regarding the formal resources, the strength of the gesture and the impetuous density of the brushstroke entangle characters and environments up to the point that the singularity of the scene can only be understood through this close union. An essential feature of Puebla’s painting works is its ability to reconcile, with no rifts, the gap that many believe to see between figuration and abstraction. His personal commitment lays down on the strong belief that a reproduction of reality must not be detailed or meticulous essentially. He goes further: he pretends to represent the reality essence, with no much detail, taking the fundamental and setting the basic guidelines that make the painting’s subject clear.”
Chus Tudelilla (Catalog)

“The human tragedy is a constant feature, nearly obsessive, in the last work of Teo Puebla, exhibited these days at the Urban Gallery in Zaragoza. While it isn’t a reliable succession, the paintings made up of their latest plastic works set a thematic unity and an aesthetics with a deep expressionist meaning. Teo Puebla has wanted to make clear his interest for the most dramatic expressionism, that which consciously praises the Germanic painters of the turn of the century, that which brings to light the most profound suffering and solitude of the human being. Without a doubt, these unprotected beings move us. These figures are roughed out, born from a quick drawing with a strong and well-rounded stroke arising from a terrible darkness. Teo Puebla speaks to us of a world of atrocious, nearly merciless, realism. Yet the painting of this committed artist is not only impressive in its content, but also the manner in which the artist addresses the canvas creates real interest and impact for the observer. The Matter set these scary bodies in gray and halfway tonalities, while reserving the spots with primary colours, blue, red and yellow, to mark certain features with its brilliance, giving balance to the composition, showing with no fear every gesture of the stroke.”
A.G.R. (El Punto de las Artes)

...“Narrative, literary reference and geographic identification are absent from the canvases, but they overflow with emotion and expression. The content is subordinate to the pathos of the abandoned figure.
...There is no doubt that the gesture is expressionistic and is handled with ease. The rich pasty paint layers remind us of the other passengers of his generation, the informal-but there is an iconographic difference with them. Antonio Saura While many canvases devoted to solitude, curiosity and innocence of Goya's dog, the complaint Canogar Rafael Franco politically and Feyter, Mampaso, Lucio Muñoz and Salvador Victoria expressed general critical stance by abstraction, no other partner Travel in the complaint has used the child, a subject so obvious where the charge capture.
...Teo Puebla is the only painter who has achieved, through gesture and material, to maintain our uneasy sensibility towards a nearly forgotten theme: innocence.” Catherine Coleman (Catalog)

... "Teo Puebla, in the illustrations that accompany the V Centennial edition of a work which, according to Menéndez y Pelayo is" one of the most brilliant and extraordinary that it may present the literature of any people, "treats with remarkable the artistic design acuity Fernando de Rojas.
... We went to Puebla Teo full so with this "fair" or "market" in which people and things "taken as faces are purchased, both worth how much they cost" raw images of thugs and raised, inflamed creatures in vain attempt to soften the flesh, the power of pleasure and enjoyment of power.”
Juan Goytisolo (Catalog)

“These are the characters of Teo Puebla. Almost all of them children and many in the fetal position of defence and abandon, almost like human larvae, in their useless desire to return to the maternal womb and be unborn. Outside there is no landscape but the ashes of fear. Yet these children are not only the human tragedy of Africa or of the nearest inner-city neighbourhood, they are from any anonymous home where the happiness which Nature has endowed to all children of all species is ignored.
Teo Puebla, who at seven years old painted on white-washed walls with charred firewood, knows much about this, and with the same force which he condemns he also depicts the grace and tenderness of gestures which the miracle of survival demands of us.
The grace and tenderness of their young age, paralyzed by the desolation of rejection, are silent cries captured by the compassion of the painter.”
Mª José Hernández (Catalog)

... "Teo Puebla shows good technique in the drawing. Net lines contrast with loose brushstrokes are diluted within the fabric. Dela Similarly, the volumes are blurred in places it directly affects the light. That leads to distorted subjective break sometimes contours. In these areas we find the records more intense color, in a sober tone in the set that helps the development of dark scenes. Also we will add touches gesture, vibrant, with which the author gets momentum in the pictorial space. Despite the tragic sign this into parts, we sense that it corresponds to a journey of reflection, rather than the alleged loss of hope for the world and those who inhabit it."
Pedro Pablo Azpeitia (Heraldo de Aragón)

"Man, as an axle and a victim of their circumstances, their social being, their passions and disappointments, chairs the pictorial work of Teo Puebla, which brings together the amazing perfection of drawing and simple symbolism of the composition. His painting, lyrical and soft in color, far away the ugly, free thought, prosecution, it seems you are looking for lyrical and gentle trails, new intentions, but in the throes old man eats.
Teo Puebla is a good painter whose inner restlessness states with soft tints, delicate colors and a fine pattern. It is not like anyone, nor is disingenuous to use cutting edge these days, nor an artist aseptic shapes and colors, is a unique and highly personal creative synthesis, a painter who loves what he does, because it prints deep in love and creating."
Cardero (Nueva Alcarria)

"Teo Puebla is a very interesting painter, owner of a bitter-tasting semiabstracción expressionist and almost tragic. Its strength lies in the figure, the human type, in whose soul Creek to unravel their inner suffering. Although sometimes arises softens the gesture and tenderness. Magnificent designer of admirable ease, soft colors and outstanding but sad expression."
Antonio de Santiago (Correo del Arte)

....“I'm not art critic and, therefore, I lack arguments to discuss the work of Teo people, but as a curious and sensitive observer, as an inveterate voyeur, I have to say that the work of contemporary painters few moves me much like yours. All pictures of Puebla, made bold and strong, have an impressive and overwhelming force. You can not remain indifferent to them and understand that some people stop looking embarrassed.
In the middle of this empty art, harmless, ineffectual and mediocre that overwhelms us everywhere, an art strangled by his own petulance and stayed in the aftermath of their complacency, the work of Teo Puebla is enhanced in the eyes of someone who simply want to see and understand."
Alfredo Gómez Cerdá (Catalog)

... "Puebla "gets his hands dirty" (in-Sartre evocation), with the pain of his fellow human beings in art transfigured through the rhythm of brushstrokes filled with rage and a few torn and rapid strokes, which Dante metaphor-with-the more tree rooted more infernal underground rise to the high branches of a delicate expressionism. Demiurge universal beings Puebla show their helplessness in a surreal and desolate landscape, beyond time and space, a landscape that does not exist or exists only to make his figures exist.
Teo Puebla, knowledgeable of the avant garde, but loyal only to their particular genius, "encourages the viewer to dialogue with his pictures, where each of its features is a metaphor of existence, and where the whole picture is the Allegory of human essence, perhaps the pain. Teo Puebla is a cosmic poet of pain, a poet of cosmic pain." José Checa Beltrán (Catalog)

"Fifteen martyrs and the suffering humanity.
... we find the faces, performed with vigorous strokes, of Monsignor Romero, Thomas More, Sophie Scholl, Berty Albrecht, Juan Padilla, Francisco Maldonado, Spartacus, Matilde Vaz Landa, Juan Bravo, Martin Luther King, Jesus of Nazareth, Mohandas K. Gandhi, Victor Jara, Mariana de Pineda and Rachel Corrie. He says the painter: "You are the human component that gives the name of our species, without you there would still be the worst of nature." In the exhibition there are three chapters, the first we have already spoken, and the other two are common, one of them are huge figures of speech, and one small, who represent the people attending astonished heroic vision of great characters. And on the other presents an enormous frieze filled with darkness, the human figures emerging, especially children, attending to the incessant amazed over time driven by the gear of the tragedies. It is a great song of loneliness, abandonment, starvation, the power of war. A great Guernica which scenario is not a Spain in flames, but a world in continuous destruction. Teo Puebla is a painter powerful, gestural brushstrokes and fast ... in his paintings, which in some cases give a false sense of being unfinished painting, with its own life, run by the canvas. " Marcelino Cuevas (Diario de León)