Biography 2019-02-26T18:07:23+00:00

BIOGRAPHY

“With art joining the ranks of products already steeped in disgust, apathy and indifference born out of excess, the artist – and particularly, a painter – has an enormous responsibility in terms of his own work, to aim beyond contriving new representations to momentarily capture some bored observer’s attention, but rather to endow imagery, whatever it may be, with the possibility of redemption, salvation through an act of purification that distances it from the world of the prevailing visual relativism. That the image today is charged with the responsibility of reinforcing and conveying meaning, of broadcasting the world and its values, places artists under the obligation to release it from this duty, saving it from the abyss of boredom and disenchantment”.

Herrero’s work (Havana, 1971) seems to embrace Majakovsky’s regime of economy in art as a fundamental aesthetic principle. Indeed, he achieves his final image by gradually removing the painting medium. A large part of the surface is left bare, exposed but for an extremely thin layer of pigment, as the artist manages the balance between the amount of light allowed through and the light kept out, and the interplay of light’s intensity, whereby the images emerge by a process similar to that of a dark room. Herrero straddles figurative and non-figurative, operating at the borderline, where the image takes priority. Observers are presented with pared-down, rarefied works, the absence of material suffusing them with a unique brilliance. The artist works towards this objective, discarding and eliminating material with timely, gestural sweeps, in a dynamic, synthesising process that exclude drawing and the traditional applications of colour.

Herrero’s artistic research is based on relationships between history, representation and science, meant as dominant forces in communication.

Selected events: XXII Bienal de La Habana (2015), convention – international exhibition Au rendez-vous des amis (Fondazione Burri 2015), Carrara Marble Weeks (Carrara 2013), 54 Biennale di Venezia (2011), exhibition Scienza Arte e Tecnologia (Lugano 2009), Biennale di scultura di Carrara (2006). Solo shows Osservatorio (Havana 2009), exhibition dedicated to Galileo Galilei and relationship between art and science on the occasion of the anniversary of the construction of the Galilean telescope, INVASI (Reggio Emilia 2013) where the artist develops Osservatorio’ theme within the relationship between human being and landscape, then address to the Paesaggio e Limite theorical event (MAXXI – Rome 2014), the solo show Removed (Havana, 2017) in which the artist reveals in Cuba large portraits of Russian intellectuals humiliated and killed during Soviet Communism, on the occasion of the centenary of Russian revolution and solo show M’è verde il naufragare in questo mare (Todi, 2017-2018).

In 2006, Herrero started the project Guest Thinkers in Cuba, a series of theorical events that involved important figures in the art and European thought compared with Cuban institutions.

“With art joining the ranks of products already steeped in disgust, apathy and indifference born out of excess, the artist – and particularly, a painter – has an enormous responsibility in terms of his own work, to aim beyond contriving new representations to momentarily capture some bored observer’s attention, but rather to endow imagery, whatever it may be, with the possibility of redemption, salvation through an act of purification that distances it from the world of the prevailing visual relativism. That the image today is charged with the responsibility of reinforcing and conveying meaning, of broadcasting the world and its values, places artists under the obligation to release it from this duty, saving it from the abyss of boredom and disenchantment”.

Herrero’s work (Havana, 1971) seems to embrace Majakovsky’s regime of economy in art as a fundamental aesthetic principle. Indeed, he achieves his final image by gradually removing the painting medium. A large part of the surface is left bare, exposed but for an extremely thin layer of pigment, as the artist manages the balance between the amount of light allowed through and the light kept out, and the interplay of light’s intensity, whereby the images emerge by a process similar to that of a dark room. Herrero straddles figurative and non-figurative, operating at the borderline, where the image takes priority. Observers are presented with pared-down, rarefied works, the absence of material suffusing them with a unique brilliance. The artist works towards this objective, discarding and eliminating material with timely, gestural sweeps, in a dynamic, synthesising process that exclude drawing and the traditional applications of colour.

Herrero’s artistic research is based on relationships between history, representation and science, meant as dominant forces in communication.

Selected events: XXII Bienal de La Habana (2015), convention – international exhibition Au rendez-vous des amis (Fondazione Burri 2015), Carrara Marble Weeks (Carrara 2013), 54 Biennale di Venezia (2011), exhibition Scienza Arte e Tecnologia (Lugano 2009), Biennale di scultura di Carrara (2006). Solo shows Osservatorio (Havana 2009), exhibition dedicated to Galileo Galilei and relationship between art and science on the occasion of the anniversary of the construction of the Galilean telescope, INVASI (Reggio Emilia 2013) where the artist develops Osservatorio’ theme within the relationship between human being and landscape, then address to the Paesaggio e Limite theorical event (MAXXI – Rome 2014), the solo show Removed (Havana, 2017) in which the artist reveals in Cuba large portraits of Russian intellectuals humiliated and killed during Soviet Communism, on the occasion of the centenary of Russian revolution and solo show M’è verde il naufragare in questo mare (Todi, 2017-2018).

In 2006, Herrero started the project Guest Thinkers in Cuba, a series of theorical events that involved important figures in the art and European thought compared with Cuban institutions.