THE MEANING OF THE WAVE IN DIANGO HERNÁNDEZ
Casado Santapau programs El fin, el mar (The End, The Sea), which is Diango Hernández’s (Sancti Spíritus, Cuba, 1970) fourth exhibition at the gallery, presents a new body of work that expands and evolves his artistic practice. The exhibition features several works using different techniques, all of which echo the sobriety of undulating lines. Within this theme, which forms the backbone of the exhibition, two acrylics on canvas are displayed alongside a group of pieces that emphasize the minimalism of the wave’s gesture.
Close to a certain abstract geometry, but avoiding the rigidity of straight lines, the works move between surface tension and the precision of their coexistence with space. Hernández thus progresses in what he himself has come to call olaísmo—a way of inhabiting painting in which rhythm and cadence take precedence over concepts such as method or narrative construction.
These waves therefore move away from maritime imagery to become, in themselves, objects of beautiful simplicity that, almost unintentionally, manage temporality and tranquility. In short, El fin, el mar is a fairly explicit title. It does not refer to a place or a natural form, but rather to the forms and fragile memory that the works presented seem to convey. The curves are far from static and assert themselves with slowed-down dynamism, turning the exhibition into a proposal that immerses the viewer in the importance of the essential.
El fin, el mar can be seen until July 25 at Casado Santapau, Piamonte 10, Madrid (Spain).
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