La fotografía de hoy se aventura más allá de lo real observable y consigue efectos de belleza y espiritualidad, siendo esa propuesta particularmente cierta para la exposición, Singular y Plural, de Angela Hernández. La autora confirma su virtuosismo en el manejo de la cámara, y espontáneamente identificamos, en el proceso creativo, una mirada interior que inspira la mirada exterior. Angela Hernández es escritora y poeta…. Sus obras, según tres facetas temáticas, transmiten tanto el impacto visual como la magia lírica. La imagen fotográfica suele revelar una extraña realidad que una simple mirada no percibe nunca, y además encontramos aquí una unidad orgánica de las fotografías con los versos en miniatura, escritos especialmente. Observamos nuevamente la fecundidad de una interacción entre lo literario y lo visual. Informar, describir y aun documentar, no hay quien domine mejor que Angela Hernández esas funciones dela fotografía: ella se integra al entorno y llega a proyectarlo, tratando sus hallazgos formales a manera de una preocupación humanista y un compromiso con la belleza. Por cierto, hay fotografías que ameritan un análisis especial, conjugando una estricta toma directa con una visión poética sorprendente, así el delicado esplendor de las hojas. El entorno cotidiano adquiere dimensiones estéticas contemporáneas en los muros: la paleta se modula exuberante y múltiple, tanto como sorda y monocromática. El caudal emotivo de Angela Hernández a la vez explota y se concentra en sus enfoques de las cortezas, sorprendiéndonos su facultad de metamorfosis. Y siempre la calidad técnica incrementa la eficiencia óptica y estética. El ojo, el corazón, la mente se fusionan en un lenguaje, en una expresión totalizante. Cada fragmento se convierte en un micro-paisaje hipnótico: de follajes a hojitas, de troncos centenarios a cortezas agredidas, de muros rocosos intervenidos por el tiempo a grafitis letristas, neo-figurativos y sibilinos. ¿Y qué decir de la aparición inesperada de siluetas humanas en el espacio, pareciendo la realidad trascendida en la ficción de una aventura? La pasión de Angela define esta estética comunicante. La luminosidad y la claridad en todos sus matices a menudo cruzan el umbral de la trascendencia. Advertimos a la personalidad fervorosa que, en las armonías sublimes de lo visible, percibe la gloria de la naturaleza y una impronta sobrenatural aun… Si el milagro permanente de lo bello permanece, sin embargo cambia totalmente… cuando la fotógrafa se apodera de los muros, se convierte en una “Street artist” o nos recuerda el viejo “nuevo realismo” embriagado por las laceraciones y el barroquismo del desgaste. Tampoco hemos olvidado el poemario “Onirias”, dúo exquisito de versos e imágenes: en “Dibujo mi imaginación”, poema corto a la vez hermético y fascinante, ya la fotografía salpicaba de manchas un muro, recorrido por grafitis… En fin, la fotografía, hoy dueña y señora, ejerce una fascinación comparable al embrujo de la poesía, y Angela Hernández presenta una trilogía que ofrece el encanto intrínseco de la escritura de la luz. La primera etapa es la Galería Nacional de Bellas Artes, luego esta muestra Singular… seguirá un itinerario Plural , para que otros públicos la reciban y la disfruten. Marianne de Tolentino
Singular and Plural, photographic trilogy by Angela Hernández
Today's photography ventures beyond the real observable and achieves effects of beauty and spirituality, this proposal being particularly true for the exhibition, Singular and Plural, by Angela Hernández. The author confirms her virtuosity in the use of the camera, and we spontaneously identify, in the creative process, an interior look that inspires the exterior gaze. Angela Hernández is a writer and poet ... His works, according to three thematic facets, transmit both visual impact and lyric magic. The photographic image usually reveals a strange reality that a simple glance never perceives, and in addition we find here an organic unity of the photographs with miniature verses, specially written. We observe again the fecundity of an interaction between the literary and the visual. Informing, describing and even documenting, there is no one who dominates Angela Hernández more than those functions of photography: she integrates herself into the environment and comes to project it, treating her formal findings as a humanistic concern and a commitment to beauty. By the way, there are photographs that deserve a special analysis, conjugating a strict direct shot with a surprising poetic vision, as well as the delicate splendor of the leaves. The everyday environment acquires contemporary aesthetic dimensions in the walls: the palette is exuberant and multiple modulated, as well as deaf and monochromatic. The emotional flow of Angela Hernandez explodes at the same time and concentrates on her approaches to the crusts, surprising her faculty of metamorphosis. And always the technical quality increases the optical and aesthetic efficiency. The eye, the heart, the mind merge in a language, in a totalizing expression. Each fragment becomes a hypnotic micro-landscape: from foliages to leaves, from centennial trunks to crushed assaults, from rock walls intervened by time to lettrist, neo-figurative and sibylline graffiti. And what about the unexpected appearance of human silhouettes in space, looking like the reality transcended in the fiction of an adventure? Angela's passion defines this communicating aesthetic. Luminosity and clarity in all its nuances often cross the threshold of transcendence. We warn the fervent personality that, in the sublime harmonies of the visible, perceive the glory of nature and a supernatural imprint even ... If the permanent miracle of the beautiful remains, however, it totally changes ... when the photographer takes over the walls, she becomes a "Street artist" or reminds us of the old "new realism" intoxicated by the lacerations and the baroque of wear. Nor have we forgotten the poetry collection "Onirias", an exquisite duo of verses and images: in "Dibujo mi imaginación", a short poem that was at once hermetic and fascinating, and the photograph splashed with stains on a wall, covered by graffiti ... In short, photography, now the owner and mistress, exerts a fascination comparable to the spell of poetry, and Angela Hernández presents a trilogy that offers the intrinsic charm of the writing of light. The first stage is the National Gallery of Fine Arts, then this Singular show ... will follow a Plural itinerary, so that other audiences receive it and enjoy it. Marianne from Tolentino
Por: Ángela Hernández Núñez | Santo Domingo, agosto 2018
Una ventana se abre ante mí, súbita. Me he de zambullir en lo que se me ofrece. Es un acto intenso. Agotador. Maravillante. Cíclico, quizás. Como una enjambrazón, como las migraciones de las mariposas monarcas, como el paso de la semilla seca a grano germinado, como la maduración de una hoja de uva de playa o de copey. Este acto devela una imagen. Por alguna razón que desconozco, en fotografía me atrae el dato nimio. Lo exento de importancia. Sospecho en esto una pequeña luz para captar el gran misterio de las cosas. Viajando hacia la síntesis, percibo cósmicos destellos, soplos, perfumes, susurros, encantamientos. Mi ojo se zafa de la prisaceguera como una niña se quita el vestido que le acorta el aliento para exhibir uno zurcido por su imaginación. Mi ojo ha contemplado en la hojarasca el tránsito del sol al polvo. El deseo de inmanente ternura volcado en un tronco de un siglo. Los portillos en una pared. La relojería de la clorofila. En la corteza del eucalipto dos corazones han marcado su turno de éxtasis. Las brumas urbanas dibujan abstractos en una porosa pared. A ras de tierra, el alba y el crepúsculo tamizan una rama. En el costado de un muro bosteza el universo. La luz elabora. Anidan las penumbras. Fotografía y poesía son dos rostros de una misma aventura: la pesca de instantes vivos. Los persigo por senderos que flotan en el mar de los contactos. La conciencia del ahora es un beso. La explosión de una estrella. El verdor de una hoja de menta. El verbo. El sigilo. De la experiencia de recorrer parques, bosques y callejuelas han surgido las imágenes de esta exposición. Mientras camino, un levísimo deslumbramiento, suerte de roce, desemboca en diálogo. Una intuición cobra forma. La cámara es transporte. (Evito trípode, frash, aditamentos). Singular y plural es un relato poético en código visual. Bordea una especie de conocimiento, de cuya raíz lo ignoro todo. Puede estar hecha de espíritu o puede ser orgánica. Su atmósfera deriva del afán por echar anclas en la realidad (o en la ilusión). Si se mira el conjunto con calma, en silencio, se entrevistan comarcas que a todos nos resultan tan elusivas como familiares. ¿Qué tan distintas, o que tan semejantes, son la mano que dibujó un bisonte en la cueva de Altamira, la que en una metrópolis grabó dos nombres en una palma y aquella que ha soltado la cámara para escribir estas líneas? ¿Acaso las ha animado idéntico impulso? La comprensión suma sentido a la vida.
By: Ángela Hernández Núñez | Santo Domingo, agosto 2018
A window opens before me, sudden. I have to immerse myself in what is offered to me. It is an intense act. Exhausting. Marvelous Cyclic, maybe. Like a swarm, like the migrations of the monarch butterflies, like the passage of the dry seed to germinated grain, like the maturation of a leaf of beach grape or copey. This act reveals an image. For some reason that I do not know, in photography I am attracted by the insignificant data. I exempt it from importance. I suspect in this a small light to grasp the great mystery of things. Traveling towards the synthesis, I perceive cosmic flashes, murmurs, perfumes, whispers, enchantments. My eye escapes from the hustle and bustle as a girl takes off the dress that shortens her breath to show one darned by his imagination. My eye has seen in the leaf litter the transit of the sun to dust. The desire for immanent tenderness overturned in a trunk of a century. The gates in a wall. The watchmaking of chlorophyll. In the bark of eucalyptus two hearts have marked their turn of ecstasy. Urban mists draw abstract in a porous wall. At ground level, the dawn and the twilight sift a branch. On the side of a wall, the universe yawns. The light elaborates. The penumbras nest. Photography and poetry are two faces of the same adventure: the fishing of instants alive. I follow them on paths that float in the sea of contacts. The conscience of now is a kiss. The explosion of a star. The greenness of a mint leaf. The verb. Stealth From the experience of touring parks, forests and alleyways, the images of this exhibition have emerged. While walking, a very slight glare, luck of rubbing, leads to dialogue. An intuition takes shape. The camera is transport. (I avoid tripod, frash, attachments). Singular and plural is a poetic story in visual code. It borders on a kind of knowledge, from whose root I ignore everything. It can be made of spirit or it can be organic. Its atmosphere derives from the desire to cast anchor in reality (or in illusion). If you look at the whole calmly, in silence, you will see regions that are as elusive to us as family members. How different, or how similar, are the hand drawn by a bison in the cave of Altamira, the one that in a metropolis recorded two names in a palm and the one that has released the camera to write these lines? Has the same impulse encouraged them? Understanding adds meaning to life.
A window opens before me, sudden. I have to immerse myself in what is offered to me. It is an intense act. Exhausting. Marvelous Cyclic, maybe. Like a swarm, like the migrations of the monarch butterflies, like the passage of the dry seed to germinated grain, like the maturation of a leaf of beach grape or copey. This act reveals an image. For some reason that I do not know, in photography I am attracted by the insignificant data. I exempt it from importance. I suspect in this a small light to grasp the great mystery of things. Traveling towards the synthesis, I perceive cosmic flashes, murmurs, perfumes, whispers, enchantments. My eye escapes from the hustle and bustle as a girl takes off the dress that shortens her breath to show one darned by his imagination. My eye has seen in the leaf litter the transit of the sun to dust. The desire for immanent tenderness overturned in a trunk of a century. The gates in a wall. The watchmaking of chlorophyll. In the bark of eucalyptus two hearts have marked their turn of ecstasy. Urban mists draw abstract in a porous wall. At ground level, the dawn and the twilight sift a branch. On the side of a wall, the universe yawns. The light elaborates. The penumbras nest. Photography and poetry are two faces of the same adventure: the fishing of instants alive. I follow them on paths that float in the sea of contacts. The conscience of now is a kiss. The explosion of a star. The greenness of a mint leaf. The verb. Stealth From the experience of touring parks, forests and alleyways, the images of this exhibition have emerged. While walking, a very slight glare, luck of rubbing, leads to dialogue. An intuition takes shape. The camera is transport. (I avoid tripod, frash, attachments). Singular and plural is a poetic story in visual code. It borders on a kind of knowledge, from whose root I ignore everything. It can be made of spirit or it can be organic. Its atmosphere derives from the desire to cast anchor in reality (or in illusion). If you look at the whole calmly, in silence, you will see regions that are as elusive to us as family members. How different, or how similar, are the hand drawn by a bison in the cave of Altamira, the one that in a metropolis recorded two names in a palm and the one that has released the camera to write these lines? Has the same impulse encouraged them? Understanding adds meaning to life.