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




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.

 


Nació en Concepción, Paraguay en 1960.

En 1967, toda su familia se mudó a Asunción, luego en 1970 a San Lorenzo (Paraguay).

Aunque nunca estudió arte en ninguna academia de bellas artes, de adolescente asistió a varias tiendas de dibujo. Ha desarrollado esta técnica durante sus primeras experiencias artísticas y esto ha influido profundamente en su gestión del 'Clarooscuro' y en la escala de valores tonales de estas pinturas. En el año 1987 ingresó en el mundo de la pintura como artista, organizando su primer espectáculo de arte ganando un premio en dibujo en un concurso organizado por The 'Magister Gallery' en Asunción. Desde entonces, ha desarrollado sus pinturas de forma muy prolífica, participando en numerosos espectáculos artísticos en Asunción y en el extranjero.

Obsesionado por la luz de los pintores 'tenebristas', Miranda ha estudiado las obras de Rembrant, Caravaggio, Vermeer y las Composiciones de Sánchez Cotan, Giorgio Morandi, estos dos últimos artistas han influido mucho en la descripción de las obras de Miranda.

En el año 2009, estudiando pinturas religiosas en Roma, Miranda está interesada en las esculturas de Bernini, desde entonces estudia escultura y al mismo tiempo desarrolla el dibujo con más fuerza.

 Explorando más profundamente en el aspecto ilusionista de las imágenes, con una composición simple, Miranda no solo busca 'Efecto Visual' sino también 'Afecto Visual' con elementos a través de los cuales el espectador encuentra fácil comunicación y al mismo tiempo estimula su percepción visual. Al estudiar la forma y los colores de la composición, el artista considera que la "luz" es la protagonista de las pinturas. En la actualidad, Miranda está desarrollando la serie Bi Realism, que consiste en integrar el soporte (panel de madera, lienzo, papel, cartón, etc.) en la pintura, conservando la estética visual y uniendo lo "real" y lo "virtual". "  
De 1993 a 1997 enseñó pintura en la 'Escuela Nacional de Bellas Artes' de Paraguay.

Desde 1998 enseña pintura realista en el estudio privado y ofrece seminarios en muchas instituciones de arte.

1998.- Realización e instalación de la pintura "La Santísima Trinidad" a la 'Iglesia Católica Reina de los Apóstoles', Alexandria, VA -USA 
Desde principios de 2006, Hernán Miranda tiene su sede en Florida, Estados Unidos de América, donde enseña y desarrolla su obra artística



EXPOSICIONES EN GRUPO

 

En su prolífica labor artística, ha participado en más de 450 exposiciones colectivas.

 
Algunas de las más importantes son. 

Galería Magister (Asunción-Paraguay); Galería Nuevospacio (Asunción -Paraguay); Fábrica Gallery (Asunción -Paraguay); Galería Artesanos (Asunción -Paraguay); Galería Viejo Galpón (Asunción -Paraguay); Atelier Myriam Mattos (Montevideo - Uruguay); Hall Banco do Brasil (Sta. María - Brasil); Centro Cultural Asunción (Asunción -Paraguay); Moscoso Gallery (Washington DC -USA); Galería Ana Scappini (Asunción -Paraguay); Stricoff Fine Art (NY - EE. UU.); Galería Multiarte (Asunción -Paraguay); Cantegrill Country Club (Punta del Este - Uruguay); Galería Latina (Punta del Este - Uruguay); National Building Museum (Washington DC - EE. UU.); Arte Contemporáneo del Paraguay (Toulouse - Francia); Arte latinoAmericano y del Caribe - UNESCO 1999 (París - Francia) Art Expo New York (NY - EE. UU.); Museo Laval (Laval - Francia); Old Bridge Library (Nueva Jersey - EE. UU.); Lincoln Center (NY - EE. UU.); CCPA; Cruzada Internacional de Arte (Bogotá - Colombia); Arte Actual Gallery (Asunción -Paraguay); Hotel Olimpia (Seul - Corea del Sur); Galería Yongdusan (Busan, Corea del Sur); Centro Cultural Jeonju (Jeonju - Corea del Sur); Hotel Seowipo (Seowipo - Corea del Sur); Monserrat Gallery (NY - EE. UU.); Galería Emblerart (Fort Lauderdale - EE. UU.); Colección Privee Fine Arts (Miami - EE. UU.); Lurie Fine Arts (Boca Raton - EE. UU.); miArte Gallery (Coral Gables-EE. UU.), SeJong Center (Seoúl - Corea del Sur); Hotel Sheraton (San Juan -Puerto Rico); Caesarea Gallery (Boca Raton - EE. UU.); miArte Gallery (Coral Gables-EE. UU.) .Bellarte Gallery (Seúl, Corea del Sur); Suyu Gallery (North Miami-USA); Zahara Gallery (Coral Gables-EE. UU.); ; Exor Galleries (Boca Raton-EE. UU.); Tower Theatre (Miami-EE. UU.); Festival Cultural Latinoamericano (Busan-Corea del Sur); Chungnam Art Fair (Corea del Sur); The Dongduk Artgallery (Seúl-Corea del Sur); Centro de Arte de la Fundación de Corea (Seúl - Corea del Sur); Exposición de Arte NY 09 - Exor Galleries (Boca Raton_USA); Regions Bank (Coral Gables-EE. UU.); Seoul Art Center (Seúl, Corea del Sur); Art Expo NY 09 (NY-EE. UU.); Bellarte-Gallery (Seúl-Sur ... Corea); Paredes- National Gallery 10 (South Beach-Miami-EE. UU.); Museo Shang Du (Zhngzhou - China); Galería Cristina Chacón (Coconut Grove); LGM International Art (Bogotá - Colombia); Shanghai Art Fair 2011 (Shanghai-China); ArteAmericas 2012 (Miami - EE. UU.); Elite Fine Art (Miami-USA); Shanghai 2012 (Shanghai - China); KIAF 2012 (Seúl, Corea del Sur); Museo de Arte de Beijing de la Ciudad Imperial (Beijing -China); Feria del Libro de Miami 2012 (Miami-USA); IAAF 2012 (Seúl, Corea del Sur); Ara Art Center (Seúl, Corea del Sur); Paraguay mba e '2013 (Miami-EE.UU.); LGM International Art, KIAF 2013 (Seúl-Corea del Sur); Six Art Gallery, Red Dot Art Fair 2014 (Miami-EE. UU.): OEA (Washington DC-EE. UU.); Six Art Gallery, Spectrum Miami 2015 (Miami-EE. UU.); Galería Finenze (Asunción Paraguay); Centro Cultural 2016-Mokpo (Seúl-Corea del Sur); Art Revolution Taipei 2017 (Taipei-Taiwán); El Museo Coral Gables (Coral Gables-EE. UU.) .; Rendimiento artístico Taipei (Taipei-Taiwán). Centro Cultural de Miramar (Miami-EE.UU.); Saint Thomas University Muesum (Miami); Kwan Fong Gallery (Los Angeles, CA); 2018 --YANGPYEONG Art Museum, Seúl (Corea del Sur); Semana de América Latina, UNESCO (París-Francia). Galería Finenze (Asunción Paraguay); Centro Cultural 2016-Mokpo (Seúl-Corea del Sur); Art Revolution Taipei 2017 (Taipei-Taiwán); El Museo Coral Gables (Coral Gables-EE. UU.) .; Rendimiento artístico Taipei (Taipei-Taiwán). Centro Cultural de Miramar (Miami-EE.UU.); Saint Thomas University Muesum (Miami); Kwan Fong Gallery (Los Angeles, CA); 2018 --YANGPYEONG Art Museum, Seúl (Corea del Sur); Semana de América Latina, UNESCO (París-Francia). Galería Finenze (Asunción Paraguay); Centro Cultural 2016-Mokpo (Seúl-Corea del Sur); Art Revolution Taipei 2017 (Taipei-Taiwán); El Museo Coral Gables (Coral Gables-EE. UU.) .; Rendimiento artístico Taipei (Taipei-Taiwán). Centro Cultural de Miramar (Miami-EE.UU.); Saint Thomas University Muesum (Miami); Kwan Fong Gallery (Los Angeles, CA); 2018 --YANGPYEONG Art Museum, Seúl (Corea del Sur); Semana de América Latina, UNESCO (París-Francia).






EXPOSICIONES PERSONALES 

Galería 1989 Nuevospacio (Asunción -Paraguay) 
Galería Fábrica 1990 (Asunción -Paraguay) 
1991 Galería Viejo Galpón (Asunción -Paraguay) 
1992 Galería Fábrica; 
        Galería Artesanos (Asunción -Paraguay) 
1993 Galería Fábrica (Asunción-Paraguay) 
        OEA (Washington DC - EE. UU.) 
1994 Galería Fábrica (Asunción -Paraguay) 
1995 EOFULA (Washington DC - EE. UU.); 
        Scappini - Galería La Marca (Asunción -Paraguay) 
1996 Van Goethem Fine Art (Washington DC - EE. UU.) 
1997 Pequeña Galería (Asunción -Paraguay) 
1998 Pequeña Galería (Asunción -Paraguay), 
        Pequeña Galería (Giclees) 
1999 Pequeña Galería (Asunción -Paraguay) ) 
        Galeríe Salucci (París - Francia) 
2000 Centro Cultural Citibank (Asunción Paraguay) 
2001 Centro de Arte Gana (Seoúl - Corea del Sur) 
2002 Fundatión Raices (San Lorenzo-Paraguay) 
2003 Centro Cultural Citibank, (Asunción -Paraguay) 
        Galería Hernán Miranda? (Asunción -Paraguay) 
2004 Galería Jadite (NY - EE. UU.) 
2005 OEA (Washington DC - EE. UU.) 
        Galería Jadite (Nueva York-EE. UU.) 
2006 Galería Bellarte (Seoúl - Corea del Sur); 
        Centro de Artes Seoúl (Seoúl - Corea del Sur) 
2007 Embajada de Paraguay (París - Francia); 
        Museo de Pérouges (Ain - Francia). 
        CCPA (Asunción -Paraguay) 
        Galerie au Theatre d 'Hesdin - (Hesdin - Francia) 
2008 Regions Bank (Coral Gables-EE. UU.) 
        Bellarte Gallery (Seúl-Corea del Sur) 
        Zahara Gallery (Coral Gables-EE. UU.)
        OAS (Washington DC -USA) 
        Exor Galleries (Boca Ratón- EE. UU. 
2009 Instituto Italo Latino Americano (Roma -Italia) 
        Galería Bellarte (Seoul - De Corea del Sur) 
        US Century Bank. (Coral Gables-EE. UU.) 
2010 Rocca Paulina (Peruggia-Italia) 
        Art.Co- Gallery (Bogotá-Colombia 
        Camara de Comercio (Bogotá -Colombia) 
2011 Espacio "Pilar" - (Asunción - Paraguay) 
        Six Art Gallery (Miami - EE. UU.) 
        Critina Chacon Gallery (coconut Grove - EE. UU.) 
2012 Six Art Gallery (Miami-EE. UU.) 
2013 Instituto Cervantes, - (Tokio - Japón) 
2015 Galería de Arte Finenze (Asunción -Paraguay) 

2018 Hotel del Lago, "30 anhos de Realismo", San Bernardino - Paraguay

        "30 anhos de Realismo", -Encarnación - Paraguay