Texts | Adrian Fernandez

“The Image as Epicenter” by Shirley Moreira. Art critic and editor of Artecubano Editions

Adrián Fernández (La Habana, 1984) is one of those artists of restless intellect. The image is not only visual support for him but becomes alive in each one of his proposals and is the essence of his creative condition. Even surrounded by the most dissimilar environments, Adrián does not feel that everything can be an efficient reason to issue a coherent discourse using photography. He analyzes the environment, the impulses and ideas...

“Notes about Réquiem series” by Stuart A. Ashman. President & CEO of the Museum of Latin American Art in Long Beach, California, Unites Estates of America.

Since postal services were developed and implemented, nations have used postage stamps as branding tools, often using images chosen to highlight characteristic aspects of the people, the geography, the natural environment, and major historical events. In his photographic work, Adrian Fernandez takes a deep look...

33 serie Del Ser o el Parecer St No 45 2009-14

“Conceptual Review and Integrity of the Photographic Medium: the Case of Two Latin American Photographers” by Mathieu Corp. Profesor of the Sorbonne Nouvelle

For a long time, the issue of registering reality on the image in photography has hidden behind its nature of evidence, based on the aesthetics of the photographic transparency. Thus, reality was interrogated on the basis of the indicative nature of the photographed objects, without a real conceptualization of the discursive possibilities...

“Performing Life” by Cristina Vives. Independent Art Critic and Curator.

Havana, one of the most photographed cities in the twentieth century, is the scene chosen by Adrián Fernández to develop a socio-aesthetic research from art,, but penetrating certain zones that become a new geography of the city, unknown by the media circles of information and almost untouched until today by photography. The artist lives in Havana, in Nuevo Vedado, one of the several residential quarters distanced from tourist tours and the visual clichés that photography has exalted in the group conscience to define Cuba or recognize “the Cuban”.

“Zoom in, Zoom out. The Illusion of Being” by Chrislie Pérez Pérez

If it were necessary to make generalizations on the work of young creator Adrián Fernández (Havana, 1984), we could say that his modus operandi is characterized by the constant movement, not only of his lens – since in each series he seems to require to continue searching for the expressiveness of the image – but also of his restless intellect. What started as a panoramic view has become a detailed plane, from a standpoint that pretends to permanently examine certain zones of our reality.