—

 

Untitled #2

(from a series of 11 portraits) lithograph
1991

The reflection on the collapse of the Soviet Union is profound in Hernández’s untitled lithograph series of 1991-1993.  The skeletal forms and haggard expressions promulgate the tale of the despair felt in Cuba (after or during) the wake of the collapse. With a haunting presence, the paper is shrouded by melancholy figures inked in black. Hernández is pulling back the curtain, allowing us a glimpse of the Special Period. You can view all the works in this collection here.

 

Geneses & Apocalipsis

series of 8 prints, Etching
1988

Fractured bodies adorn the spaces, which Eduardo Hernández creates in his etchings circa 1987 and 1988.  The sheer size of the prints alludes to the time before the Special Period, when materials were readily available. One has to meander through all the bramble and brimstone to find a whole, complete body to be pieced back together.  The search for identity resonates as one of the main themes in Geneses & Apocalipsis, providing an early view into Hernández‘s continued themes of identity as a gay Cuban artist. You can view all of the prints in this collection here.

 

 

 

Collage series 2007

As part of a collaborative series Poder, Esperando y Intimidad (Power, Waiting and Privacy) Hernández contributes his photo collages exploring each of these themes.  The composition of bodies interchange with photographs, intaglio etchings, glass, metal and pasted words compose compelling observation on the frailty of the human body takes on the form of the human body.  Hernandez contorts limbs, obscure faces in context to each particular theme. As seen in this series and other photo collages; obscured faces shy away from the camera, while at the same time Hernández allows the human body to be powerful just as much as it is vulnerable. You can view other works in this collection here.

 

 

New Works

 

Litografías

2010

A work-in-progress. These lithographs are strong prints that aim to depict the grotesque side of Cuban daily life. The edition–greatly influenced by the schools of expressionism that have shaped Eduardo’s career– was originally conceived in black and white, but later some prints were hand-colored (chromolithographs) to exploit the expressive possibilities of both crayon and watercolor. You can view the works in this collection here.

 

A propósito de la flores (Apropos of Flowers)

1990s – 2000

A propósito de la flores (Apropos of Flowers) are 120mm black-and-white nude male portraits. The compositions are generally stark, combining the chiaroscuros of the studio light with a sharp focus to create dramatic tonal contrasts. The series is an attempt to subvert a Cuban machismo taboo– that giving men flowers is to contest their masculinity. You can view works in this collection here.

 

The Wall in Drag

2010 – 2011

The Wall in Drag– a work a progress– is a version of an earlier series of straight portraits shot in 2005 entitled El Muro/ The Wall which chronicled the late-night life of Cuban LGBT community at Havana’s seafront wall, popularly known as the Malecón. This new series is made up of 14 photographs, some of which are new, and others from the 2005 series. Through collage, the characters depicted in the photographs have been re-created using haute couture publicity designs taken from some the world’s most glamorous magazines. You can view the photographs here.

 

Tipos y costumbres de la isla de Cuba

Paper Cut
2010

The portfolio Tipos y costumbres de la isla de Cuba is a reference to the Basque artist Victor Patricio Landaluze’s conceptual idea of a series of lithographs and oils documenting the costumes of 19th Century Cuban life. The portfolio features iconic characters of contemporary Cuban society through a language similar to that of US comics, which allows the depicted characters to voice their feelings. The portfolio’s ornate and vibrantly colorful hard cover alludes to the tropical touristic cliché with which Cuba has been traditionally advertised. Conversely, the portfolio depicts contradictory and rather unpleasant aspects of today’s Cuban social reality. You can view the portfolio here.