Lion,
Until 2025, no institutional show of his painting had not presented Secondino Hernández, but this year there are two that at the moment has starred in: until last April, the Alcalá 31 room of the Community of Madrid hosted an exhibition raised as a portrait of the artist from a selection of work representative of his three decades of jour The last decade and curated by Álvaro Rodríguez Fominaya.
This great format is the most common in its production, although as we saw in Madrid it has also cultivated medium and small. The compositions of this Madrid author seem, at first glance, color -based visual games, but it has gradually evolved its accentuation of matter, the iridescence of shades or the importance given to the canvas; It has modified its treatment of the various fundamental elements of painting and its perceptual options. It is striking to what extent its language has become identifiable seal, although it has not remained static; However, the procedural axis of his works is demonstrating relatively stable: he works painting, pointing out and painting again, either using brushes or pressure machines.
Both proposals, Madrid and Leonesa, are complementary, since almost a third of the thirty -five works that make up the exhibition of Musac are unpublished in Spain. These are fundamentally abstract pieces in which Hernández has tried to escape to more or less immediate references, or past baggage, to continue addressing the act of painting from its autonomy, as a lonely phenomenon in which it is still possible to articulate spaces from the dialogue with oneself and not only with tradition. To that end, sometimes erodes its supports and even the layers of pigments, resort to repetition and seriality, make use of cut fabrics, fragment or accumulate their materials or display spots and calligraphies; All of them are procedures that are part of their mechanics linked to the trial-error: considers its production as an open newspaper in which to expand its own conception of this discipline.
What happens, in the field of the formal, in the pictorial environment when trying to delve into the fruits of its technical processes is the center of its concerns: My interest is how paint continues to expand its limits, how it can be intervened, subject to tensions, decomposed, dismantled and back to assemble again. It is in that sense that their works can connect with certain drifts in this field in the last century: those focused on the examination of the subject, gestures and the relationship with support.
The title of this exhibition has been taken from a poem by Juan Ramón Jiménez and is also linked to the purpose of Hernández to register in his pieces the course of time through the passage of the stations, hence the starting point of the tour is the polyptic Four stations. Between summer and autumndated in 2017 and raised as an approach to the contemporary landscape; It is one of the work that is first exhibited in Spain. It has been frequent that Hernández seeks the generation of textures that see geographies: has sought to structure spaces by putting in question of flatness and, sometimes, to use the way to consolidate an individual language through color. The expressiveness of its abstractions has to do both with the painter’s gesture and his work in a body dimension and with the same materiality of the images: from the frame and the fabric they can be told, the artist considers, many stories without narrating.
Although most of his works in the MUSAC are paintings, we will also contemplate a set of printing of 2020 and a series of aluminum reliefs near the Assemblage and to illusionism: there are numerous techniques, materials and records that are served to elucubate tensions between the form and emotion, the conceptual and the organic.
Secondino Hernández. “Total Station”
Musac
Avenida de los Reyes Leon, 24
Lion
From July 12 to October 19, 2025
