By Oscar Centurion Frontanilla, 1992:

My first surprise was the environment, or rather environments, of large houses and galleries with so much nostalgiac emphasis. The distressed look of cave-ins and demolitions were balanced by the gentle architectures of towns in redesign, a confused process that threatened their identities and life force. I confronted surprise and anguish at memories on the verge of eradication. And then I would see other architectures, plots and again the same anguish. There was the architecture of still life, of ceramics and other surprises that appeared among the "orderly tangle" of the obvious objects. In the works I viewed, Hernán Miranda confronted me with the obvious and well founded structures, reinforced with subtle realities, familiarities and routines, yet loaded with hidden meaning. Mangos, bananas or grenades filled and complicated the shelves that Migliorisi would have filled with threads and thimble tips. A new tangle and also a new order emerges, at times sharing elements extracted from the same workshop, paintbrushes, vessels, ceramics and vases of painting. And a new anguish was evident in some of the brushstrokes, founded in control and firmness. A surprise was revealed through force and emotion, the "wealth of the obvious thing".



By Olga Blinder, 1993

Hernán Miranda is like a poet of painting, using those things so common, yes even vulgar, that they often remain unseen though we live with them daily...a bucket of paint, a hammer, a pan, a plate a plumb line and a paintbrush; a napkin of “ao-po´í” and a dirty wrinkled cloth…any of them is worth so little. The painter gathers them with other objects---a shell, a fruit partially peeled, a “zapallo” (pumpkin) starting to rot, a pear, an apple or a mango. Although it appears that these things are gathered by chance, they call the observer to reflection of whether the depiction is art or photography. The realism is so well managed that it gives place to an analysis of the work on a deeper level. This aspect of composition is what makes his works poetic, called by one critic an "untouchable flower, rhythmic, joined exactly in the lovely order of an architect forming a magic armor. The challenge that faces Hernán Miranda is constant; on the one hand his ability to represent the most diverse objects in the manner of "trompe l’oeil" deceives the eyes of the observer. On the other hand he seeks to portray and search out something more, something hidden, that ambiguity of the verisimilitude of his representations that produces the temptation to touch the canvas, to verify that the painting is but two-dimensional. His works force us to be like a daydreaming boy, mixing fantasy and reality, allowing both to relate in the mind as equal form and value, blurring the line between reality and imagination. It is important to respect the intended confusion; it is meant to draw one in not punish the viewer. I asked myself why Miranda’s art affected me thus. I believe that was when I saw him as a hyperrealist. If not, the public might accept his works merely to be understood as representations of reality, and that would be sad. I prefer to believe that Hernán Miranda seeks earnestly and in constant self-tension to surpass that simplistic phase and to apply his talent and ability to touch that blurred line of reality-unreality and forge ahead in his career.



By Ticio Escobar, 1994
Hernán Miranda waits on things, prowls and spies them out, focuses on them with care and finishes by portraying them in great detail seeking, perhaps, to trap their reality. He avoids the trap of time however, and perhaps seeks to portray some contrary thing, to oppose the vulnerability of exact appearances, and the elusiveness of adherence to exact form. Perhaps the certain thing in his paintings is the fidelity that the representation permits, not always immediately, to see distance between the thing and its image, between natural time and the anachronism of the symbols. To travel through the detour of that distance, or simply to begin a cautious approach toward the object as first seen, Hernán moves in the iconic direction of masters such as Miguel Heyn and Ricardo Migliorisi. Hernán Miranda reflects their imagery with a tendency towards figurative imagery of oppression, the weariness of the conflict, the broken rolls and the injured fruits, the stained cloth; the things are connected not so much with the intent to align their erosion but to poetically allude to the drama deterioration and to the destructive pressure of the time. The trivial objects exposed so obviously to the spectator can lead down trails of hidden bonds and silences, often providing anxieties and looks of intensity. And it is from this secrecy that Hernán raises the value of his own imagery seeking to provoke questions about destruction versus continuance, the endless prison sentence of live people, and the ideal eternity of the still life. Therein is the virtuosity of the hyperrealist, observation applied to effect. His work aims to suggest the slant of ephemeral shine or shadow, the secret reason of the form.



By Vicky Torres, 1996

Names and surnames often seem to exist to position one for a place in life, and such is the case with Hernan Miranda. The surname is common in Spain (Miranda of Ebro, Miranda of I Gild, etc) and in some countries of Latin America (Venezuela), as well as many non-Latin countries. If we should pay attention to the etymology (that in matter of names is not usually necessary), Miranda (of the Latin American verb mirar, to look at) it tends to mean in Spanish vernacular "things that should be looked at"; that is to say, Miranda is a collection of objects worth looking at and admiring. This assembly of objects can refer to the diverse accidents that conform a landscape (case of the surname original) or to other things more difficult to define. The admirable thing in Miranda is, in a first approximation, his technique and the formal quality of his work. Rigorously photographic painting with a high degree of iconic presentation reflects a point of view on the objects and on the world in which they are inserted. In all they represent a variable point of view that can be appreciated as progressive. Miranda leaves the impression that he is discovering with color, form and light the secret language of things. Clearly influenced by the Dutch and Spanish masters of the 17th century, from Rembrandt to Velazquez, an almost baroque chiaroscuro leaps forth from his stills. This hyperrealist is a magnificent sketcher, varying his process of light and color, transferring his selected objects to the cloth and drawing the viewer into the secrets that art alone can uncover. Miranda seeks to trap the elusive reality of things and to mock the trap of time, showing us that the reality of time transports us inexorably toward death. In this sense and despite the variations of light and of color that has recently lacked, the art of Hernán Miranda reminds us of that essential common thing, death. His art speaks of essential things, of our human condition bound up in the human figure. His objects come to represent the absent man. The absence is, in this case, as much negation as affirmation, therefore it remains a constant of the objects painted by Miranda the transitory nature of man, of life passing by, of fleeting realities that are dissipated in the air remain alive only in the representations on canvas. Those humanized objects are wisely arranged, full of beauty and of sense, objects that reflect other realities, something beyond what is apparent. Hernán Miranda seems to have the power to transmit to us this message.



By Augusto Roa Bastos, 1997

The improbable art of Hernán Miranda has managed to create a new form of pictorial realism carried to extremes, a realism that accentuates almost paradoxically the two-dimensional representation of objects while substituting a new vision through the objects. The artist tells of a new conception of the world, that each picture is a phantasmagoric scene in which the geometric object returns surreal, more than hyperrealistic. Nicolas of Sewing found in these pictures the embryo of a new visual order, and felt they incorporated a divine element. This is fantastic virtuosity, reproducing with geometric neatness the forms of the model yet concealing its nature, transcends it, changes it and transforms it into a presence like another reality. The new reality is seen but unexplained, from an unknown dimension, of a time that impalpably palpitates, as the juicy matter in the fruits, as the trembling of life at the time of death, as the palpable intensity of the dreamy desire of spying on some naked perfect one. This is the furtive nature of his work, a tempting foretaste of the hidden. The almost always inanimate objects, the still life in their more intimate details, are seen surrounded by a halo that is without doubt the reflection of the imagination of the painter. Hernán Miranda shows us with his works, forms-colors-drawings-volumes, perspectives closed on themselves, that the reality grasped by an eye is multi-faceted, like that of the purple flies of the Valley of the Sil, Indonesia. His work unfolds with more fantasy than the most feverish imagination. Through the half-light of the folds of airtight and heavy fabric we see invisible faces, that observe our desperation at the inability to cross the infinite distance that separates the image and reality. We see meccas of wild irony because those faces are out beyond the mortal time limit, beyond the expiration that time imposes on beauty. The beat of life travels through his images, crystallized in unseen arteries, returning to the mystery that is both the sum and its parts. The angular imagery and generality of subject matter is faceted not unlike the fly’s eye, fascinating and hypnotic.



By Jose Ostria, 2001

The spirit of the forms. The mystery of the colors, the severity of the composition, the simplicity of the space. All of this is Hernán Miranda. But he is a lot more, because for him conventional hyperrealism is not enough. The work is precious not just in detail, but its plastic totality, the rigorous composition surrounded by mysteries. Hernán Miranda descends from the family of Meléndez, Spanish painter of the 18th century. His compositions are factual presentations of color, on the surface they show apparent reality, but in reality the objects play with the space. One can tell him that Hernán Miranda is a teacher of "space", and urges us to remember that "he lives" in the matter. The mute language of the things in his paintings pretends to be smoother and can speak to us of its interior life; the images of fruit are more tempting than the real. Hernán Miranda is a teacher that needs to envy no painter, he is an owner of his universe, pure, generous, paying tribute to nature, without the need to create speeches or theories. His fruit have life, they are objects that speak to us of their lives, modest and necessary.



By Daniel Martinez, 2002

The HERNAN MIRANDA still life paintings show deep attention to detail and give the illusion of being real. Unique and utterly beautiful Paraguayan clothing appear to be perfectly fuzzy or out of focus. The fruit stills are so sharp that you can see dew dripping from the skin. In Miranda;s paintings you can smell the fragrance, see the tropics and feel continentally intellectual. They instill a sense of magic. In other words, HERNAN MIRANDA IS THE LATIN AMERICAN MASTER AT PAINTING STILL LIFES!



By Michael J. Oliver, 1992

From the moment of my first visit to a gallery that exposed the work of Hernán Miranda, I thought about the magical realism of the 20th century, a type of painting in which objects are painted with a precise measure of realism, but that paradoxically, projects an unreal effect. The result is an uneven juxtaposition of the elements of time-space, for example: a street scene artificially illuminated yet seemingly at noon. Chirico and other painters of the School of Metaphysics in Rome and France, and the Dutch painters of the 1920’s, as well as some casual American painters of the 1930’s all practiced this magical realism. Deepening my investigation on the work of Hernán Miranda I was drawn visually to understand that he uses a subtle technique that is both selective and simple, with photographic realism that can induce an observer to think that the objects represented in oil are more real than painted. This artist creates a consistent illusion of reality. Hernán’s canvas reveals a sense of colored reality with a delicacy of the brush and two-dimensional composition, framing the essence of an intended artistic communication.



By Juan Manuel Prieto, 1992
The painters of today, perhaps saturated by an excess of experimentation in the last few decades, seek a return to simple, figurative communication of the reality of their surroundings. In this case, routine objects form the elements of a new aesthetic, presenting the motive of the work, causing us to see hidden facets of the objects and their raw visual meaning. Hernán Miranda is surely one of the artists adhering to the coherence of a rigorous and clean motif developed with years of effort, yielding the simplicity of fruits and utensils of everyday life to bring intimacy to his paintings. Nostalgia of the Renaissance is the fruit of his labor, yet he displays an almost disturbing quality of photographic realism. The strict simplicity of his compositions permit gradually the suggestion that each object seen holds a secret; an orange, a piece of avocado, a simple vessel of routine use each show us not only the wealth of their form, but also their purpose in space and time. Each has incidental value in the accidental still life that surrounds us all. Among the subtleties I found examples of “ao-po´í” the delicate ancient weaving art of Paraguay, with the presence of other repetitive folk role. Clearly, the color factor is always well handled by Hernán Miranda revealing, in this case, the discrete mystery that emerges from each of his works.


 



HERNAN MIRANDA By Hernan Miranda

My painting is based on the technique of classical painting, but with a different search. It is important to know the painting codes because it gives you more freedom to play, create and break the schemes according to your need, optimizing the visual aesthetics. I think contemporary realism is more pragmatic.

My work has a great influence on the composition of Juan Sánchez Cotán (Spanish 1560-1627) and Giorgio Morandi (Italian 1890-1964) and the treatment of the tonal values of the "Tenebrist School".

I seek to always be closer to the codes of Painting than of the photographic representation. With simple and vulgar elements, I try to look not only for "effects" but also for visual "affections" to communicate with the viewer. I like to play with the line, the form, the color, the geometry and the space, always stimulating the visual perception.

The series BI Realism .. is the integration of the real with the virtual, working in the support of the painting (Printed fabric, Paper, Wood) to coexist in aesthetic harmony within the painting, always working the illusionist aspect of the image

I work in oil, mixed media and I love to draw and carve in wood 



Hernan Miranda



​​​HERNAN MIRANDA 


Was born in Concepcion , Paraguay in 1960 .

Although he never studied art at any of fine arts academies, as an adolescent he attended several drawing work shops. He has developed this technique during his first art experiences and this has deeply influenced his managing of the 'Clarooscuro' and the tone value scale of these paintings. In the year 1987 he entered into te world of painting as an artist, organizing his first art show earning an award in drawing at a contest held by The 'Magister Gallery' in Asuncion . Since then he has developed his paintings in a very prolific way , participating at many arts shows in Asuncion an abroad. Obsessed by the light of the 'Tenebristas' painters, Miranda has studies the works of Rembrantd, Caravaggio, Vermeer and the Compositions of Sanchez Cotan, Giorgio Morandi and specially Antonio Lopez which has motivated him to seek beyond the academic virtuosity with a pragmatic painting .

 Exploring deeper into the illusionist aspect of images , with a simple composition, Miranda not only seeks 'Visual Effect' but also 'Visual Affection' with elements through which the viewer finds easy communication and at the same time stimulates his visual perception. Upon studying the form and colors of the composition , the artist considers 'light' as being the protagonist of the paintings. At present Miranda is developing the 'Bi Realism series', which consist of integrating the support (Wood panel, canvas, paper, pasteboard, etc,) into the painting, conserving the visual aesthetics while bringing together the “real” and the “ Virtual “  
From 1993 to 1997 he taught painting at the 'Escuela Nacional de Bellas Artes' (National Fine Arts school) of Paraguay. Since 1998 he teaches realistic painting at the private studio and gives seminars at many institutions of art. At the moment, Hernan Miranda is living and working in the United Stated of America. 




GROUP EXHIBITIONS

 

In his prolific artistic work, he has participated more than 450 group exhibitions

 
Some of the most important are. 

Magister Gallery (Asunción-Paraguay) ; Nuevospacio Gallery (Asunción –Paraguay) ; Fábrica Gallery (Asunción –Paraguay) ; Artesanos Gallery (Asunción –Paraguay); Viejo Galpón Gallery (Asunción –Paraguay); Atelier Myriam Mattos (Montevideo – Uruguay); Hall Banco do Brasil ( Sta. María – Brasil); Asunción Cultural Center (Asunción –Paraguay) ; Moscoso Gallery (Washington DC –USA); Ana Scappini Gallery (Asunción –Paraguay); Stricoff Fine Art (NY – USA); Multiarte Gallery (Asunción –Paraguay); Cantegrill Country Club (Punta del Este – Uruguay); Galería Latina (Punta del Este – Uruguay); National Building Museum (Washington DC – USA); Arte Contemporáneo del Paraguay (Toulouse – France) ;Arte latinoAmericano y del Caribe -UNESCO 1999 (Paris-France) Art Expo New York (NY – USA) ; Laval Museum (Laval – France); Old Bridge Library (New Jersey – USA); Lincoln Center (NY – USA); CCPA; Cruzada Internacional de Arte (Bogotá – Colombia); Arte Actual Gallery (Asunción –Paraguay) ; Hotel Olimpia (Seul – South Korea); Yongdusan Gallery (Busan –South Korea); Centro Cultural Jeonju ( Jeonju – South Korea); Hotel Seowipo (Seowipo – South Korea); Monserrat Gallery (NY – USA); Emblerart Gallery (Fort Lauderdale – USA); Collection Privee Fine Arts (Miami – USA); Lurie Fine Arts (Boca Raton – USA); miArte Gallery (Coral Gables-USA) ,SeJong Center (Seoúl – South Korea); Sheraton Hotel (San Juan -Puerto Rico); Caesarea Gallery (Boca Raton – USA); miArte Gallery (Coral Gables-USA) .Bellarte Gallery (Seoul –South Korea); Suyu Gallery (North Miami-USA); Zahara Gallery (Coral Gables-USA); ;Exor Galleries (Boca Raton-USA); Tower Theatre (Miami-USA) ; Latin American Cultural Festival (Busan-South Korea);Chungnam Art Fair (South Korea);The Dongduk Artgallery (Seoul-South Korea); Korea Foundation Art Center (Seoul –Soth Korea);Art Expo NY 09- Exor Galleries (Boca Raton_USA); Regions Bank (Coral Gables-USA) ; Seoul Art Center (Seoul- South Korea) ; Art Expo NY 09 (NY-USA);Bellarte-Gallery(Seoul-South..Korea); Paredes- National Gallery 10 (South Beach-Miami-USA); Shang Du Museum (Zhngzhou – China) ; Cristina Chacon Gallery ( Coconut Grove) ; LGM International Art (Bogota – Colombia); Shanghai Art fair 2011 (Shanghai-China) ; ArteAmericas 2012 ( Miami – USA) ; Elite Fine Art (Miami- USA ) ; Shanghai 2012 (Shanghai – China ) ; KIAF 2012 ( Seoul –South Korea) ; Beijing Art Museum of Imperial City (Beijing –China ); Miami Book Fair 2012 (Miami- USA ) ; IAAF 2012 (Seoul –South korea) ; Ara Art Center (Seoul –South Korea); Paraguay mba e’ 2013 (Miami –USA ); LGM International Art ,KIAF 2013 (Seoul-South Korea) ; Six Art Gallery , Red Dot Art Fair 2014 (Miami-USA) : OEA (Washington DC-USA) ; Six Art Gallery, Spectrum Miami 2015 (Miami-USA) ; Finenze Gallery (Asuncion-Paraguay); 2016-Mokpo Cultural Center (Seoul-South Korea) ; Art Revolution Taipei 2017 (Taipei-Taiwan) ; Coral Gables Museum (Coral Gables-USA).; Arts Performance Gallery (Taipei -Taiwan) ; Miramar Cultural Center (Miami-USA); St.Thomas University Museum (Miami-USA). ; Kwan Fong Gallery- California Lutheran University (CA.- USA); 2018.-YANGPYEONG Art Museum , Seoul (South Korea).


1998 .- Realization and installation of the painting “La Santisima Trinidad” to 'Queen of Apostles Catholic Church' , Alexandria ,VA -USA 






SOLO EXHIBITIONS

1989 Nuevospacio Gallery(Asuncion -Paraguay) 
1990 Fábrica Gallery(Asuncion -Paraguay) 
1991 Viejo Galpón Gallery (Asuncion -Paraguay) 
1992 Fábrica Gallery; 
        Artesanos Gallery (Asuncion -Paraguay) 
1993 Fábrica Gallery (Asuncion-Paraguay) 
        OEA (Washington DC – USA) 
1994 Fábrica Gallery (Asuncion -Paraguay) 
1995 EOFULA (Washington DC – USA); 
        Scappini – La Marca Gallery(Asuncion -Paraguay) 
1996 Van Goethem Fine Art (Washington DC – USA) 
1997 Pequena Galeria (Asuncion -Paraguay) 
1998 Pequena Galería (Asuncion -Paraguay), 
        Pequena Galería (Giclees) 
1999 Pequena Galería (Asuncion -Paraguay) 
        Galeríe Salucci (Paris – France) 
2000 Citibank Cultural Center (Asuncion-Paraguay) 
2001 Gana Art Center (Seoúl – South Korea) 
2002 Fundatión Raices (San Lorenzo-Paraguay) 
2003 Citibank Cultural Center, (Asuncion -Paraguay) 
        Hernán Miranda Gallery (Asuncion -Paraguay) 
2004 Jadite Gallery (NY – USA) 
2005 OEA (Washington DC – USA) 
        Jadite Gallery (New York-USA) 
2006 Galería Bellarte (Seoúl – South Korea); 
        Seoúl Arts Center (Seoúl – South Korea) 
2007 Paraguay Embassy (Paris – Francia); 
        Museum of Pérouges (Ain - France). 
        CCPA (Asuncion -Paraguay) 
        Galerie au Theatre d' Hesdin - (Hesdin - France) 
2008 Regions Bank (Coral Gables-USA) 
        Bellarte Gallery (Seoul –South Korea) 
        Zahara Gallery (Coral Gables-USA ) 
        OAS (Washington DC –USA) 
        Exor Galleries (Boca Raton –USA) 
2009 Instituto Italo Latino Americano (Rome –Italy) 
        Bellarte Gallery (Seoul –Soth Korea) 
        US Century Bank. (Coral Gables-USA) 
2010 Rocca Paulina (Peruggia-Italia) 
        Art.Co- Gallery (Bogota-Colombia 
        Camara de Comercio (Bogota –Colombia) 
2011 Espacio “Pilar” –( Asuncion – Paraguay) 
        Six Art Gallery (Miami – USA) 
        Critina Chacon Gallery ( coconut Grove – USA) 
2012 Six Art Gallery (Miami-USA ) 
2013 Instituto Cervantes ,- ( Tokyo – Japon ) 
2015 Finenze Art Gallery (Asuncion -Paraguay) 

2018 Hotel del Lago (San Bernardino-Paraguay) 

        30 Anhos de Realismo (Encarnacion -Paraguay)