Je recommande à votre aimable attention de Madame Teiko Dewa. Ses photographies, d’une grande et d’une exigence très pure figurent dans la collection de la Bibliothèque nationale de France. Jài pu apprécier personnellement en la qualité de sa personnalité et sa détermination à poursuivre une recherche esthétique très personnelle, c’est d’ailleurs ce qui m’a convaincue de la faire figurer son travail dans notre collection. Je pense qu’il s’agit d’une artiste d’avenir dans la mesure où elle sait traiter et approfondir un problème esthétique. Sa demande me paraît très légitime et je la soutiens particulièrement. (Conservateur en chef, Madame Biroleau-Lemagny 2004)

Throughout my working life, especially during my tenure with ARTnews, I got to know the work of literally hundreds of artists asked in the city and also became acquainted with virtually all of the significant art galleries that operate here. Therefore when I was asked to evaluate Teiko’s work I was judging it based upon the highest professional standards; on that basis it stood up very well indeed. What impressed me particularly about Teiko’s photographs were their abstract focus_, which is not, something easily or successfully achieved in the photographic medium. Through her devotion to abstraction and her very inventive concentration on the texture and details of object (fruit, flowers) and her skillfully suggestive use of shadow and light, Teiko is able to create mages that are at once mysterious, beautiful and somewhat disturbing. The work sometimes brings to mind that of the Surrealist photographers, such as Wols, but it is more tempered, and also more seductive than off-putting. The point is: Teiko is in very good company. (Mr. R. De Feo, 2004)

　Teiko Dewa’s photographs are closed representations, caught forms that disallow normal logical conjectures: that they developed to their photographic closures. They have an adamant finality, a compositional technical rigidity—abstractions that are sonnets in structural tightness—an inaccessibility to any form of imposed gratuitous inscriptions. They block the past. They were before they were.
　Their inspirational genesis is a non issue, or should be one, for these are abstractions that can not play, “find my origin,” but paradoxically in their confidently framed isolated reference they initiate a temporal dissociation between the viewers’ initial photographic reading and their subsequent need to stabilize their appreciative process--the photos as pseudo corrector to their wrought meshing via a disjunctive variant not available.
　Dewa’s images belie titling; their bravado is a sequent to a shadowed assimilated logic, an unchanged identity, regardless the Dewa photo, almost an ancillary to a literariness, so complicated, not to be found. She shadows her photos by their clear cut walls that economically create a sub-sequence not there, a corroborated mistranslation to a material singularity to pose the rhetorical postponing break.
　Rethinking her images form a further indeterminate rereading, photos to a procreation that doubles for cause and result, not a discrepantly interposed correspondence, but one that actually slips upon its presence: its here, no connections found. 　（Mr. A.Nadler, 2003)