Freddy D´azure-Hernández

"Donde Juagaran Los Niños Cuando Los Colores Se Apaguen"

Abstraction, in painting, can propose a similar exercise to this as well. Allowing the viewer to come up with new constructions to the meaning of these shown images. To edit a story and to be able to tell the essence of that tale in a few words is as valuable as adding every detail to it. Selecting bits and pieces of a story can, perhaps, lead us to think about the value and properties of those chosen pieces.

By having a background in Visual Arts, Freddy D’azure-Hernández has learnt to explore different media and techniques going back an forth from video to painting it is clear that, for him, the construction of a video has became a way of creating a succession of paintings. Through this visual exploration he seeks to transfer pictorial issues, like the density of the paint, textures, patterns, lay outs.

Every color pattern, arranged in a specific manner, like a precise composition in a painting and on videos has became a powerful source of visual stimulation while these may appeal you over using it may lead to different results, which has made D’azure wonder does over stimulation can making feel love or kill you? Since then, his visual interest has revolved around the concept of love or death through art to understand and appreciate life as much as personally and everyone around you or what surrounds you.

Being motivated or provoked by a work of art is a rare but not rejected event, what he seeks is to cause an effect on his pieces in which the viewer is to reach the inner part of the brain and open the possibility of shaking some things in your body through the simple act of seeing.

For this new media photographic series segments of a previously created video were taken with an exhausted searching frame by frame to select the best shots and then work them in the guided vision towards a visual interference of the acquired mental manipulation, in which each projected segment it is interposed so that each viewer captures different images and is guided by their most hidden instincts.

This series arose in the process of the search to manipulate and turn around my work in Video Art, in which in an extensive personal discussion on how to create a photography proposal of new media, and arrive at the result of taking PhotoStills, then work with them, manipulate them, process them and finally be printed on high quality metallic paper.


CC: Why is a story an essential element to your art?
F.D.H: The Story is the most essential element in converting each of my works into an infinite universe, giving them their own form and personality and appropriating them from each viewer's mind, making the experience unique.

CC:  What is the correlation you discovered between painting and video? And why did that interest you?
F.D.H: Photography and painting is everything, it is the same sanguine line where in both you can express everything in an infinite of techniques that follow from the beginning of each expression and thanks to the technology and scientific advances always evolved to create new techniques and innovations and above all, they inspire each other to create art.

CC: What did you discover when you started making a separation between video art and photo stills?
F.D.H: What I discovered was totally a vision at the time of reviewing one of my videos that in a few seconds I had a total approach visualizing the video that I began to imagine how interesting and unique the impact that would be achieved when thanks to a single video, would give life to hundreds of pieces with their own unique personality.

CC: What would you like your viewers to see beyond the visual presentation? Are there any hidden elements in these photos?
F.D.H: One of the essential purposes in my artistic work is to give them life and soul so that the moment a spectator arrives to observe it, it may arrive in a few of their minds of the viewers and penetrate in its entirety to captivate or torment it and so it is already agreed in his memory that that image will always keep him in mind as it has a permanent impact. Yes, I have always applied hidden images in all my work and at the same time multiple senses or interpretations in their recognizable images.

CC: Why did the concept of ‘love and death’ interest you in particular?
F.D.H: Love and death are the only things that give meaning to the life that becomes the motor for life to continue, both of us live it day by day, the personal and the external that is guided to our destiny; both for me are my total inspiration that I live intensely without resting for passion and devotion regardless of the outcome that happens either negative or positive that will give me more to express to continue giving more messages that achieve a change for personal or collective good.