Premonición

Hernández builds the entire surface in small churning strokes that make the walls, the floor, the light itself feel fluid and alive—and that red shape on the windowsill pulls you in before you've had a chance to orient yourself. It reminded me, almost embarrassingly, of the paintings in Super Mario 64 — those portals you could literally jump into. The scale of the piece only amplifies that pull. This is my first encounter with his work, and I've since learned he operates under a self-coined framework he calls Olaismo, a practice rooted in wave motion and fluid energy as both formal method and worldview, which explains why the surface feels less like a technique and more like a belief system. I'll be looking for more.

— Juan Gabriel Delgado