The equation of matter = skin = psyche.

1819 Art Magazine.

...¨This conceptual matrix is enriched through its overlap with two other discursive lines tasked with conveying its production: the tireless exploration of the margin of possibilities open to gestural abstraction; and the growing need to question the bi-dimensionality of modernist painting in order to advance first toward tri-dimensionality and finally toward sculpturality.

Indeed, Fernández's work represents one of the most interesting expressions of the trans-modern category called "painting in the expanded field." ¨

PEDRO ALBERTO CRUZ SANCHEZ

COMISARIO

Finding oneself in the

 external body

Intimate Femicide Installation

Brenda the artist encases her body. The casing sets, epidermis and all. Like any anything shed off, it hurts. She takes hold of the clone and throws it away. She looks at it and is surprised to see – outside of her and head on – those parts that her gaze has never landed on. We tend to see ourselves in two dimensions, but this body that has detached itself from her has volume too.

She greets herself, she does not recognize herself, she makes herself her own, but conflictedly. A conflict inherited from the female body and its alleged aesthetic duties: not to offend, to please the gazes of the "pleasant"…

Minette Erdman

CURATOR

Cartographies of Sensitive Matter. Pictographies of the Threshold 

In a time where visual excess and hyperinformation have saturated the aesthetic experience, these works open a different threshold: a space of slowness, of tactile and affective immersion, where the gaze is compelled to relearn how to see. These are not images that represent, but rather surfaces that present—that become sensory resonance fields, matter in a state of becoming. These paintings, composed in mixed media on canvas, form a non-narrative constellation, without center or hierarchy. They do not tell a story; they activate a state.
Taken as a whole, these pieces can be read as a topology of chromatic affects, where color is not a decorative attribute but an atmospheric agent. From dense purples evoking organic tissues to ochres and yellows reminiscent of landscapes eroded by time, each work operates as an emotional geology. Here, pictorial matter thickens, creases, contracts, or dissolves—invoking a memory that is not discursive, but somatic.

Antonio Sánchez

CURATOR