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hidell brooks gallery

1910 south blvd, suite 130
Charlotte, NC 28203
704.334.7302

hidell brooks gallery

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tony30x30redhatpainting.jpg

tony hernandez

“looking at me looking at you looking at me” by tony hernandez considers the artist’s pain, loss, and relentless pursuit to reinvent. over the past three years, hernandez has undergone multiple surgeries to manage his chronic pain. these experiences often left him powerless, much like the children in his paintings whose lives are shaped by decisions they had no say in. through such warfare, a new language surfaces, making space for wild imagination. it is indelible in the intricate and complex scenes he captures–a crowned, masked child crossing his arms in protest; a red dunce-capped child gazing at a bird on the wall, envisioning freedom. hernandez posits viewers to enter the paintings’ landscapes and consider the much-debated question, how do we regard the pain of others, especially those who are most vulnerable?

the works’ use of myriad materials and techniques—300-pound arches paper, graphite pencils, water pens, ink, colored pencils, gouache, beeswax, and damar resin—creates paintings that are visually simple yet emotionally resonant. one must look at each piece closely to examine the red stitches that carry from one to the next. and another: the motif of the surgical mask, which has been present in hernandez’s work for years. this constant merging of materials is as if to say, you see me one way, but i am actually another way, reverberating the silent proclamations of his subjects.

hernandez’s artistic practice emphatically personifies the expansive terrain of the human experience. he delves deep into the emotions and experiences of children, examining how they must confront their limitations in the face of authority and societal expectations. in turn, hernandez reflects on his own childhood struggles with agency and identity. he often felt masked by his inability to speak the language of his hispanic grandparents. and as a brown child growing up in the south, he felt disconnected from the culture surrounding him. however, over time hernandez has embraced painting as his first language.

with this new language comes the inevitable transformation. as hernandez invites viewers to confront their pain and vulnerability, he reminds them that the sublime is there, too. and in finding it, there is the chance to encounter transcendence and, through it, a new chapter.

tony hernandez

“looking at me looking at you looking at me” by tony hernandez considers the artist’s pain, loss, and relentless pursuit to reinvent. over the past three years, hernandez has undergone multiple surgeries to manage his chronic pain. these experiences often left him powerless, much like the children in his paintings whose lives are shaped by decisions they had no say in. through such warfare, a new language surfaces, making space for wild imagination. it is indelible in the intricate and complex scenes he captures–a crowned, masked child crossing his arms in protest; a red dunce-capped child gazing at a bird on the wall, envisioning freedom. hernandez posits viewers to enter the paintings’ landscapes and consider the much-debated question, how do we regard the pain of others, especially those who are most vulnerable?

the works’ use of myriad materials and techniques—300-pound arches paper, graphite pencils, water pens, ink, colored pencils, gouache, beeswax, and damar resin—creates paintings that are visually simple yet emotionally resonant. one must look at each piece closely to examine the red stitches that carry from one to the next. and another: the motif of the surgical mask, which has been present in hernandez’s work for years. this constant merging of materials is as if to say, you see me one way, but i am actually another way, reverberating the silent proclamations of his subjects.

hernandez’s artistic practice emphatically personifies the expansive terrain of the human experience. he delves deep into the emotions and experiences of children, examining how they must confront their limitations in the face of authority and societal expectations. in turn, hernandez reflects on his own childhood struggles with agency and identity. he often felt masked by his inability to speak the language of his hispanic grandparents. and as a brown child growing up in the south, he felt disconnected from the culture surrounding him. however, over time hernandez has embraced painting as his first language.

with this new language comes the inevitable transformation. as hernandez invites viewers to confront their pain and vulnerability, he reminds them that the sublime is there, too. and in finding it, there is the chance to encounter transcendence and, through it, a new chapter.

untitled   2020

untitled 2020

ink & encaustic on paper
17 1/2 x 14 1/2 inches framed
$2,400

untitled   2020

untitled 2020

ink & encaustic on paper
20 x 16 inches framed
$2,400

untitled   2020

untitled 2020

ink & encaustic on paper
14 x 13 inches
$2,200

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 12 1/2 inches framed
$2,200

untitled   2020

untitled 2020

ink & encaustic on paper
14 x 13 inches
$2,200

untitled   2020

untitled 2020

ink & encaustic on paper
14 x 12 inches
$2,200

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 12 1/2 inches framed
sold

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 12 1/2 inches framed
sold

untitled    2020

untitled 2020

ink & encaustic on paper
20 x 16 inches
sold

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 12 1/2 inches framed
sold

untitled    2020

untitled 2020

ink & encaustic on paper
16 x 16 inches framed
sold

untitled    2020

untitled 2020

ink & encaustic on paper
16 x 16 inches framed
sold

bird on wall    2023

bird on wall 2023

encaustic & ink on paper
35 1/2 x 35 1/2 inches framed
sold

life boat    2023

life boat 2023

encaustic & ink on paper
41 1/2 x 41 1/2 inches framed
sold

red bird and stitches    2023

red bird and stitches 2023

encaustic & ink on paper
35 1/2 x 35 1/2 inches framed
sold

whale and red house    2023

whale and red house 2023

encaustic & ink on paper
35 1/2 x 29 1/2 inches framed
sold

tin cup    2014

tin cup 2014

encaustic & ink on paper
23 x 23 inches
sold

untitled   2020

untitled 2020

ink & encaustic on paper
14 x 13 inches
sold

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 16 inches framed
sold

untitled    2020

untitled 2020

ink & encaustic on paper
16 x 16 inches framed
sold

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 16 inches framed
sold

red horse   2020

red horse 2020

oil & encaustic on panel
48 x 48 inches
sold

house feed    2014

house feed 2014

encaustic & ink on paper
25 1/2 x 23 inches
sold

now from here (winters at hand)

now from here (winters at hand)

encaustic + ink on paper
25 x 23 inches
sold

hand and shadow    2017

hand and shadow 2017

oil & encaustic on birch panel
48 x 48 inches
sold

king's blue camelot i.e. saratoga 2017

king's blue camelot i.e. saratoga 2017

oil & encaustic on birch panel
48 x 48 inches
sold

eyes of your history   2013

eyes of your history 2013

encaustic & oil on baltic birch
48 x 48 inches
sold

   all king's blue    2015

all king's blue 2015

encaustic, oil & gold leaf on panel
48 x 48 inches
sold

crown in shadow    2015

crown in shadow 2015

encaustic & oil on panel
48 x 48 inches
sold

red dress    2014

red dress 2014

encaustic & oil on paper
36 x 36 inches
sold

untitled   2020

untitled 2020

ink & encaustic on paper
20 x 16 inches framed
sold

untitled   2020

untitled 2020

ink & encaustic on paper
14 x 12 inches
sold

crown feed    2014

crown feed 2014

encaustic &ink on paper
25 1/2 x 23 inches
sold

in red shirt    2014

in red shirt 2014

oil & encaustic on paper
36 x 36 inches
sold

untitled   2013

untitled 2013

ink & colored pencil on paper
12 x 12 inches
sold

untitled   2020

untitled 2020

ink & encaustic on paper
16 x 12 1/2 inches framed
sold

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