Miguel Hernández Sáez

MIGUEL HERNÁNDEZ SÁEZ, (Venta del Moro, Valencia, 1967).
"Capital XXIV. Capital series, 2014.
Acrylic on canvas.
Signed and dated on the back.
Attached certificate of authenticity by the artist.
Size: 146 x 114 cm.
Miguel Hernández Sáez is a Valencian artist with a degree in Fine Arts from the Polytechnic University of Valencia. He has participated in several individual and collective national exhibitions and has permanent works in the Town Hall of Mislata (Valencia), in the Town Hall of Albal (Valencia) and in the University of Murcia.
Of the latest competitions and prizes received, he was a finalist in the II Biennial of painting María Isabel Comenge (2020) and also in the VIII Prize of Painting Torres García-Ciutat de Mataró (2019). He has also received several honourable mentions, in 2017, 2015 and 2014.
Geometry is established as the central axis of his work, in a research process that starts from the study of geometry through the repetition of a geometric element and its combination, also showing interest in space, light and colour.
In his work he is not only concerned with these formal elements, but goes beyond them, diving into different concepts in each of his series.
Each piece is conceived from a basic geometric element, the use of a single colour and a black background. An imposed limitation or self-censorship where no other element or colour is allowed.
Through the combination of this component, and only this, and after multiple compositional solutions, the artist builds certain more complex structures of a geometric or architectural nature, with the possibility of different readings and visual routes that take the spectator wherever he wants to go.
Prior to its physical execution, each work is resolved in its entirety using computer programmes. The final piece is a faithful reflection of the sketch, leaving nothing to improvisation, everything is measured beforehand, the work is digitally created in concept and form and all that remains is to transfer it to the canvas, to make it into a painting. It could be printed and it would have practically the same result, but without that added human burden in the painstaking and meticulous execution, as opposed to the speed and immediacy to which we are accustomed today.
It does not mean that in this elaboration the artist is trying to leave his mark, quite the contrary. He intends a result of feigned cold, mechanical execution, where his trace moves away to bring the spectator closer to his own reading and resolution.