The derangement of an imaginative cosmopoiesis based on love feelings, pain, regret, transience, sentimental idyll, this is the generative grammar of Panta Rhei: everything flows’ that the painter Ana Hernandez de San Pedro expresses in her works displayed at the combined art exhibition Cruzarte ongoing in Caceres (Spain) in the Nevecam art gallery till the next 4th of January.
Hernández oniric memorial repertoire, with her impulse of microscopic narration and with a Democritus investigation of the universe, has a metaphysic taste that reflects a shaman necessity of transposition of naturalistic elements iteration: flowers, plants, all creatures.
Hernández transfers on her canvas, with her dolls as alter ego, the time of expectations and hopes, the pleasure of an imaginary time, ongoing tensions and joys, all psyco-genetic features and ways of behaving in a continuous evolution.
The iconic dolls think, see and react through her eyes setting up cocoons of silent, mysterious and secret feelings of existential fatum (destiny).
The painter’s life experience generates epiphanies of the holy feminine in unattainable apollineus features and creates polymorphous and suggestive identification.
It deals with unexpected perception originated by conscious transcriptions of a fantastic repertoire got by a moody background jealously kept. It fluctuates in a wandering dimension of secret thoughts, of vibrations in harmony with an intimate essence of nature that is going to be realized in the representation of hora fugit, the time that is passing by.
Feminine silhouettes display proudly their excessive pompadour hairstyle of Edwardian age, a Belle Epoque archetype; they wink with a primordial charm of sensual pleasure in a triumph of corsets, frills and crinolines, they look so powerful in a surge of dreaming and surreal masks since they become human in the assimilation of the natural event.
The evolutionary passage of feminine features, full of majestic but sometimes tragic beauty, although they are painted through gestures full of sensual and passionate creative flairs, creates a vibrant syntax where the hyperbolic physiognomic structure, derived by the description and the definition of shapes’ imitative contours, seem to lay bare relational values with accurate psychological surrender according to the nature phenomenology.
The artist expresses every painted female creature in a solitary entity transposed in a pose with an illusionist dimension that seems to have as a virtue the gift of clairvoyance meant as it was in stasis, plunged in a ritual and contemplative setting that creates both carnality and quivers of loving emotion.
Hernandez goddesses and mermaids plunged into a blue haze that scatters everything, in the sea wave continuously unstable, among the clouds, in the fair skies perpetually metamorphic, announce at one time unpredictable storms and at other time presages and impending happiness, sighing and burning in their slow flow and in a pale trembling of transience although in the relentless transmutation of shapes, they lavish love of life and mystery.