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Chris Hernandez


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About The Artwork

One of the works from the MASS Series. these paintings try to break away from the pure reality of past series. Originally, the "mass" in the painting was simply a non-specific form; a shape without definition, substance, or purpose. It existed in the space in order to contrast the geographical nature of the painting with something obscure and undefined. Some forms were more three-dimensional, while others conveyed a two-dimensional, flat appearance which contrasted the representational landscapes present. The addition allowed for a mixture of the real and unreal to occupy the same space. Through the course of the series, the mass has evolved to become cloud-like bursts, smoke, or explosions. To provide an explanation of their identity is rather impossible since they lack one. The mass forms exist to contrast reality and to allow for a graphic and whimsical possibility to exist within the context of the work.

Details & Dimensions

Print:Giclee on Fine Art Paper

Size:12 W x 9 H x 0.1 D in

Size with Frame:17.25 W x 14.25 H x 1.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

I am an American painter living abroad in Warsaw, Poland. My work primarily deals with a neutral examination of the concept of change as it pertains to the cycles of construction, deconstruction, and reconstruction. An objective distancing from the process allows one to see that our attitudes toward specific transitions differ according to whether we are outside the situation or within it, and which direction the change is headed. Nature and geography are used to illustrate this, with recurring subjects being, stones, rocks, natural debris, landscapes, and the cosmos. People seek stability in a dynamic universe that is in persistent motion. And while the paintings do not depict a human individual within the work, they do show evidence of human interaction. Many images show man's influence within an environment as an attempt to create sense from nature, chaos, entropy, and even death. As the life cycle of one material ends, new purposes for it may arise and consequently new rebirths. This leaves the viewer free to question what events are taking place and imagine themself within the work as both spectator and participant in the changing forces. Deeper connections are also observed by man's interaction with a continually morphing environment. The land is always changing, and as humans, we are always changing the land. Consequently, the work serves as a playful metaphor for the mutual connection between natural change and a man-made one.

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