The work of Prudencio Hernández enriches the gaze of the people who, unhurriedly, remain in front of her contemplating. The successive transparencies penetrate the fabric and highlight the image. There is nothing naive in the plastic resolution that he proposes, everything is thought out and is forged by working with paint. But yes, there is an innocence that is present and flies over the meaning of the composition. Prudencio knows that in reality he lives in a world where the strongest survive and yet, in his paintings, there is no anger. Time and time again he delves into a creation where lonely characters yearn to communicate.
– Prudencio, throughout the years: what is the theme that continues in your works?
The works reflect my life. I can locate an angel that flies over the image, but below I do not hesitate to anchor the forms that strengthen the structure of the painting; I want to fly clinging to concrete forms. I dream every night of aggressive situations, where different fantasies put me on the verge of death.
– However, none of that is reflected in my work, because I always seek to express the softness of life through tonal passages.
Those passages may be a sublimation of inner terror. Perhaps he paints a dark line in keeping with the night nightmare, but the intermediate passages that extol the light and the search for poetry immediately triumph.
– Which artist has been your guide or whom have you most admired?
I have a great love for De Chirico’s painting. The loneliness that he proposes is not sadness. Yes, a stunning privacy choice from him. I could very well say the same thing about him that I see in my own painting: they are images that highlight the desire for communication. The work invites you to see the world with the eyes of an artist.
– How did you manage to combine your business work with painting?
It’s life! It’s life! Life is not directed. She puts you in different situations, and you must move on. I live through my fears. I don’t stay still.
About Prudencio Hernández, the renowned independent curator, with a BA in Art History and a Master’s in Argentine Culture, Julio Sapollnik, who was director of the Palais de Glace and a Fulbright Commission grantee at The Museum of Modern Art, New York, says: “ he does not need to copy reality, he invents his own world where forms, colors and characters are related. The preponderance of his aesthetics is in the presence of the sky, something that moves him both in nature and in paintings. That depiction of the infinite vault invokes his belief in the heavenly world”.
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by CEDOC