Archetypes and Totems in the expressionism of a wild Gauguin
“Archetypes and totems in the expressionism of a wild Gauguin” is the title of the exhibition that will be open at the Galleria Hernandez in Milan on Via Copernico 8 from 3 October, the conclusion of a journey that saw a highly sought-after outerwear capsule exhibited at White Milan, the leading Italian fashion show, from 21 to 24 September last.
Suprema, a company that deals with luxury outerwear, has entrusted itself to a master of painting, the Venezuelan Simon Hernandez, an artist who died in 1996, for the lining made from the Como silk fabrics of some leather garments, starting a bond with his daughter Consuelo who cares the Foundation named after the father.
The works of Hernandez seem to have been born for this happy, precious and not noisy union. Art as a message of life. An offer of creativity that meets the style of a dress and characterizes it without overpowering it.
It is the rediscovery of a contemporary artist who, unlike his brush, spirit and nationality colleagues, brought his land to Europe and here he imposed it with multi-colored and multi-ethnic pride.
In Milan you can enjoy Hernandez’s Venezuelan suggestions until 7 November in an explosion of South American surrealism that comes back with overwhelming topicality: more than 40 works retrace his artistic career among stylistic tightrope walkers, tropical archetypes that seem to have escaped from an archaic jungle and forests virile that offer themselves with feminine grace.
The particular intonation of figural poetry. The look. The vision in images. Everything contributes to interpreting the expression of a life and a dilated and phantom, yet true nature: a life that Simon Hernandez has painted and drawn in the interweaving of myth and chronicle, between dream and the present. The artist evokes nature as a daily mythology, sprained and pungent, ironic and humoral, darting with energy and ambiguous magic.
In his paintings, in the angular flashes of invention of which he allows himself to be ignited, Simon Hernandez has always been a painter to the very end, a painter in the detail of every evocation and of every color, in the shimmer of the sign or the bare brushstroke to capture with vitalistic emotion , each time, the mirage of the dreamlike in the shadow play of memory.
Between sarcasm, malice and melancholy, he explores the traces of a domestic anthropology of the soul in the gallery of his imagination. In his stories there are predominant figures, in addition to the screen teeming with lean and stripped colors, the legends and archetypes of Latin American culture, from Pablo Neruda to Lam, from Matta to Garcia Marques. Yet these echoes, these resurgent native Venezuelan lumps of He become European of which he mixes all the work, never become preponderant, never overwhelm the unique individuality of his accent.