artist's statement:

"In our American society, we are judged by what we own. We often feel defined by our possessions. We attribute human qualities to everyday objects, and sometimes treasure these things more than the human beings around us. Our country is so affluent that we throw things away before they have outlived their usefulness. It seems that we are on a constant quest to have the newest and the latest, and to toss out those things that have lost their original shine and appeal.

"I make art using a variety of media. Of particular interest to me is creating art from found objects, and returning them to their former glory as prized property. In blending the human figure with these “rescued” objects--I create sculpture that is highly anthropomorphic, thus illustrating the connections we have to our personal belongings.

"I am also influenced by language. For me, a simple phrase can produce a vivid mental picture; a picture that sticks with me until I, quite literally, create it out of my mind. The result is a visual pun; the tangible product of a word or group of words. This points to another interesting aspect of our society; the use of words and phrases that have double meanings. For instance, “the mouth of a jar,” or being “burned out.”

"I am an interdisciplinary artist, not feeling constrained to work in any one medium. Often, the subject of my art will dictate the creative process. Much of my sculpture is fabricated from “rescued” objects, for I see beauty all around me. These unexpected treasures inspire me to give them new, or returned, status within our society.

"In an attempt to connect with the earth, and with the artist-potters of pre-history, I have recently begun working in clay. The use of clay has been particularly key for me to manifest my thoughts about the “mouth of a jar,” and has resulted in a series of pots--each with a different facial expression. In finishing these new works, I have chosen to forego the use of commercial glazes; celebrating, instead, on the innate beauty of the clay, which reveals itself through a progression of hand-waxed finishes.

"Showing my work can be challenging, because the presentation of a work of art is, in my mind, an extension of the art itself. I don’t use frames for my paintings. I paint on all of the exposed surfaces of the canvas. If a work requires framing, the frame must pick up where the painting leaves off--continuing the pun or idea. This means that I must create the frame, too.

"When showing a sculptural piece, I equally consider the base to be a part of the sculpture. As such I must create the base. Sometimes it will look like a base, other times not. Either way, it is important for me to control the presentation of my art--to continue the narrative or pun in my own way. Leaving the decision about presentation to another person is akin to writing a story, handing it over to someone, and letting them fill in the ending.

"Controlling every aspect of my art enables me to communicate fully with my audience. When manifesting these works of art, I want the viewer to feel connected--to “get” the pun, yet be surprised and amused at my rendition. Sometimes I hope to inspire laughter. Other times, I aim for contemplation. Always, though, I desire a connection--an intimate conversation between me, my art, and the viewer."

Robin Hernandez, 2004