The face into the palm tree Painting

Alanna Heiss: Miguel Hernandez is a realist painter whose works, which are extraordinarily well executed, could be approached as an aspect of magic realism. Not in the least naive or an outsider artist, Miguel lives and works in New York City and is in constant interaction with local artists. His work is deliberately unadjusted to a prevalent art aesthetic, and created without irony. The group we look at here is formed around the adventures of two women (features never revealed) who are immersed in water. Miguel keeps a steady artist's eye on the women, an eye which can see clearly underwater, and tells the viewer that the white clothing of the woman is as depicted, without misrepresentation. It is clear that Hernandez's work falls into the category of illustration. However it is also clear that illustration, when propelled by ambitious ideas, can help the viewer understand or imagine the unknown. And after all, surely that is one of the most things that art can do. - Alanna Heiss, Clocktower Gallery Founder and Director; MoMA PS1 Founder and former Director. - __________________________________________________________________________________________________ Graciela Kartofel Angels Underwater Miguel Hernández, has a solid background as a painter. Through his work, and with an original approach, he creates a variety of themes including Central American social concerns. On the other hand, the artist emphasizes certain aspects that are related to his birthplace, the Dominican Republic, with a focus that allows them to be understood in a more global way. Now he is showing the series "Angels Underwater," which draws from another aesthetic and delves into a more visual and laberynthical game. These paintings develop from an encounter that took place thirteen years ago when the artist saw Aka Lady in the Water -one of the most famous black and white photographs of the 20th century by the photographer Toni Frissell. Miguel Hernández was deeply taken by the beauty of the image; he was also impressed by the composition and the fact that although there was a human figure the photographer did not show the model's face. He recalls the intensity of the piece and the magical illusion that it transmitted. Hence, he could only begin to paint a related theme once he felt ready to create his own compositions.