…technology, which had already defeated the landscape,
was beginning to creep into our minds.
Pablo Capanna, prologue to For an Autopsy of Everyday Life, J. G. Ballard
It’s intolerable to be stopped by a frame’s edge.
Víctor Palacios, curator
The painting itself. Painting as a substance, thing or matter in the world. Painting free of any qualification, form or concept is what has detonated the emergence of this garden. Let’s dive in and lose ourselves! Let’s cross back and forth its boundaries and countless landscapes
The artistic practice of Enrique Hernández (Guadalajara, Jalisco, 1975) is premised on questioning and complexifying the place of painting in the present day. In his plastic and visual language stands out the gradual representation of hybrid landscapes filled with different physical, temporal and contextual layers. Architecture, the urban environment, nature and digital technology enter into a field of tension with the always thick conflicts of the pictorial image. Thus, Hernández places us with his work in a tangled but stimulating struggle between materiality, virtuality and the construction of meaning.
This exhibition has several facets. On the one hand, it brings together a series of works made in recent decades and, on the other, it materializes a large body of two- and three-dimensional pieces produced in situ by the artist. The painting expands, goes beyond the limits of the canvas to fully integrate itself into the space and emphasize the dialogue with the architecture. This always complex approach to space through painting also embodies a range of new perceptual possibilities and the way in which the viewer literally traverses such an environment.
Thus, this garden, which mediates between the rationalist and the adventitious, makes connections with the ideas of the influential American theorist and architect Steven Holl on the phenomenology of architecture and the entangled experience: “Beyond the physical quality of architectural objects and the practical details of content, the entangled experience is not only a place of events, things and activities, but something more intangible that emerges from the continuous unfolding of spaces, materials and superimposed details”. In this regard, Enrique Hernández states that this peculiar circumstance generates the possibility of an experiential continuum of painting. Let’s delve back in!