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ART Center Of Miami | profile | all galleries >> ART CENTER OF MIAMI'S INSTRUCTORS >> HERNAN MIRANDA (Oil) tree view | thumbnails | slideshow

HERNAN MIRANDA (Oil) | PEDRO LASTRA (Photography) | MARTHA TALERO (Drawing) | MDUFFO (3D Boxes and Abstracts) | MARIA TUMA (Children Classes)

HERNAN MIRANDA (Oil)

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Hernan Miranda

Was born in Concepcion , Paraguay in 1960
Although he never studied art at any of fine arts academies, he has developed the drawing during his first art experiences and this has deeply influenced his managing of the "Ciaroscuro" and the tone value scale of this paintings. In the year 1987 he entered into the world of painting as an artist, organizing his first art show earning an award in drawing at a contest held by The "Magister Gallery" in Asuncion .
Since them he has developed his paintings in a very prolific way, participating at many arts shows in Asuncion an abroad. Obsessed by the light of the "Tenebristas" painters, Miranda has studies the works of Rembrantd, Caravaggio, Vermeer and the Compositions of Sanchez Cotan, Morandi and specially Antonio Lopez which has motivated him to seek beyond the academic virtuosity with a pragmatic painting , exploring deeper into the illusionist aspect of images , with a simple composition, Miranda not only seeks "Visual Effect" but also "Visual Affection" with elements through which the viewer finds easy communication and at the same time stimulates his visual perception. Upon studing the form and colors of the composition ,the artist considers "light" as being the protagonist of the paintings.
At present Miranda is developing the "Bi Realism series", which consist of integrating the support (Wood panel, canvas, paper, pasteboard, etc,) into the painting, conserving the visual sthetics while bringing together the real and the " Virtual" reality.
From 1993 to 1997 he taught painting at the "Escuela Nacional de Bellas Artes" (National Fine Arts school) of Paraguay. Since 1998 he teaches realistic painting at the private studio and gives seminars at many institutions of art.


GROUP EXHIBITIONS

Some of the most important are.
 
Magister Gallery (Asunción-Paraguay) ; Nuevospacio Gallery (Asunción –Paraguay) ; Fábrica Gallery (Asunción –Paraguay) ; Artesanos Gallery (Asunción –Paraguay); Viejo Galpón Gallery (Asunción –Paraguay); Atelier Myriam Mattos (Montevideo – Uruguay); Hall Banco do Brasil ( Sta. María – Brasil); Asunción Cultural Center (Asunción –Paraguay) ;  Moscoso Gallery (Washington DC –USA); Ana Scappini Gallery (Asunción –Paraguay); Stricoff  Fine Art (NY – USA); Multiarte Gallery (Asunción –Paraguay); Cantegrill Country Club (Punta del Este – Uruguay); Galería Latina (Punta del Este – Uruguay); National Building Museum  (Washington DC – USA); Arte Contemporáneo del Paraguay (Toulouse – France) ; Art Expo New York (NY – USA) ; Laval Museum (Laval – France); Old Bridge Library (New Jersey – USA); Lincoln Center (NY – USA); CCPA; Cruzada Internacional de Arte (Bogotá – Colombia);  Arte Actual  Gallery (Asunción –Paraguay) ; Hotel Olimpia (Seul – South Korea); Yongdusan Gallery (Busan –South Korea); Centro Cultural Jeonju ( Jeonju – South Korea); Hotel Seowipo (Seowipo – South Korea); Monserrat  Gallery (NY – USA);  Emblerart Gallery (Fort Lauderdale – USA); Collection Privee Fine Arts (Miami – USA); Lurie Fine Arts (Boca Raton – USA); miArte Gallery (Coral Gables-USA)  ,SeJong Center (Seoúl – South Korea); Sheraton Hotel (San Juan -Puerto Rico); Caesarea  Gallery (Boca Raton – USA); miArte Gallery (Coral Gables-USA) .Bellarte Gallery (Seoul –South Korea); Suyu Gallery (North Miami-USA); Zahara Gallery (Coral Gables-USA); LaMer Gallery (Seoul- South Korea);Exor Galleries (Boca Raton-USA); Tower Theatre (Miami-USA)
 
1998 .- Realization and installation of the painting “La Santisima Trinidad” to "Queen of Apostles Catholic Church" , Alexandria ,VA -USA

PERSONAL EXHIBITIONS
 
1989 Nuevospacio Gallery(Asuncion -Paraguay)
1990 Fábrica Gallery(Asuncion -Paraguay)
1991 Viejo Galpón Gallery (Asuncion -Paraguay)
1992 Fábrica Gallery;
        Artesanos Gallery (Asuncion -Paraguay)
1993 Fábrica Gallery (Asuncion-Paraguay)
        OEA (Washington DC – USA)
1994 Fábrica Gallery (Asuncion -Paraguay)
1995 EOFULA (Washington DC – USA);
        Scappini – La Marca Gallery(Asuncion -Paraguay)
1996 Van Goethem Fine Art (Washington DC – USA)
1997, Pequena Galeria (Asuncion -Paraguay)
1998 Pequena Galería (Asuncion -Paraguay),
        Pequena Galería (Giclees)
1999 Pequena Galería (Asuncion -Paraguay)
        Galeríe Salucci (Paris – France)
2000 Citibank Cultural Center (Asuncion-Paraguay)
2001 Gana Art Center (Seoúl – South Korea)
2002 Fundatión Raices (San Lorenzo-Paraguay)
2003 Citibank Cultural Center, (Asuncion -Paraguay)
        Hernán Miranda Gallery (Asuncion -Paraguay)
2004 Jadite Gallery (NY – USA)
2005 OEA (Washington DC – USA)
        Jadite Gallery (New York-USA)
2006 Galería Bellarte (Seoúl – South Korea);
        Seoúl Arts Center (Seoúl – South Korea)
2007 Paraguay Embassy (Paris – Francia);
        Museum of Pérouges (Ain - France).
        CCPA (Asuncion -Paraguay)
        Galerie au Theatre d' Hesdin - (Hesdin - France)



2008 Regions Bank (Coral Gables-USA)
Bellarte Gallery (Seoul –South Korea)
Zahara Gallery (Coral Gables-USA )
OAS (Washington DC –USA)
Exor Galleries (Boca Raton –USA)
Hernan Miranda 1
Hernan Miranda 1		 Hernan Miranda 2
Hernan Miranda 2		 Hernan Miranda 3
Hernan Miranda 3		 Hernan Miranda 4
Hernan Miranda 4		 Hernan Miranda 5
Hernan Miranda 5		 Hernan Miranda 6
Hernan Miranda 6

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ART Center Of Miami31-Oct-2008 05:19
THE SPIRIT OF FORMS
The spirit of forms, the mystery of colors, the rigor of composition, the simplicity of space. All of this is Hernán Miranda. But he is even more than that, because for him, conventional hyper-realism is not enough. His work is precious not just in its detail, but in its plastic totality, its rigorous composition surrounded by mysteries. Miranda descends from the family of Meléndez, the Spanish painter of the 18th century. His compositions are factual presentations of color—but while on the surface they show apparent reality, in reality the objects play with space. One can even says that Miranda is a master of space, a reminder that it "lives" in matter. The mute language of the objects of his paintings quietly shares its innermost thoughts with us. The images of fruit are more tempting than real ones.
The color of all that is magic is what is given us by Hernán Miranda, a master who need not envy any artist. He is the owner of his universe, pure and generous. He pays tribute to nature without the need to make speeches or devise theories. His fruits have life, they are objects that speak to us of their lives, modest and necessary.
— José Ostria, artist, 2001

ART Center Of Miami31-Oct-2008 05:18
THE PAINTINGS OF HERNAN MIRANDA
Hernán Miranda waits on things, he prowls around and spies on them, focuses on them with care, and then finishes them off by depicting them in great detail. It is as if he were trying to trap their reality, mock the trap that is time, or perhaps search for the opposite, the vulnerability of appearances that seem “exact” and the elusiveness of adherence to precise form. What seems certain in his paintings is the fidelity that his works project, though not always immediately, with regard to the distance between the object and its image, between natural time and the anachronism of symbols. To traverse the detour that that distance implies, or simply just to initiate a cautious approach toward the primary object of his attention, Miranda moves in the iconic direction of masters such as Miguel Heyn and Ricardo Migliorisi.
Miranda utilizes his imagery with a tendency toward a basically figurative approach that reflects the limits imposed by oppression, waste, or conflict, be it by depicting ripped paper, damaged fruit, stained cloth, or pieces of twine. Miranda connects them not so much to underline the signs of their being eroded or out of place, but rather to much more indirectly reflect, with a certain poetic negation, their deterioration and the destructive pressure of time. Depicted so explicitly, the most trivial objects can take the observer down trails with hidden passages and eternal silences that can steal and return the sudden anxiety provoked by a dark stare.
And it is from these assumptions that Hernán uplifts the value of his own imagery, seeking to provoke questions about destruction versus permanence, the sentence of all living things, and the ideal eternity of the still life. Beyond the virtuosity of the hyperrealist, the observation applied, or the effect that is certain, Miranda’s work aims to suggest that any object, once selected, has the slant of an ephemeral shine or a shadow unpainted once it is subject to the secret reasoning that we call form.
— Ticio Escobar, art critic, 1994

ART Center Of Miami31-Oct-2008 05:17
AN OBSESSION FOR THE VERISIMILITUDE OF DAILY LIFE
Hernán Miranda is like a poet of painting, using objects so common that we often don’t even see them, even though we live with them daily: a bucket of paint, a hammer, a pan, a plate, a plomb line, a paintbrush, a handicraft napkin, a dirty wrinkled cloth. He can take any of them and manage to combine them with other objects—a shell, a partially peeled fruit, a squash starting to rot, a pear, an apple, a mango.
Although it appears that that these objects are assembled by chance, once you stop asking yourself whether the depiction is art or photography, Miranda’s extraordinarily managed realism provokes reflection and analysis on deeper levels. One level is the composition of each one of his works, a composition that the poet Rafael Alberti once described as an "untouchable flower, rhythmic, joined exactly in the lovely order of an architect forming a magic armor.”
The constant challenge that Hernán Miranda faces is that, on the one hand, he has the ability to represent the most diverse objects in a way that deceives the eye, and on the other, he seeks to portray and search for something more, something hidden, something beyond just the ambiguity of the verisimilitude of his representations that tempt you to touch the canvas to verify that the painting is only two-dimensional. His works transform us into daydreaming children, mixing fantasy and reality, allowing both to percolate in the mind with equal form and value, blurring the line between reality and imagination. It is important to respect the stages involved in the depth of thought behind this creativity, and not confuse it with the child in us that might want to stretch the truth.
I asked myself why Miranda’s art affects me this way. I believe it was at that moment that I understood what lies behind his work and that of many hyper-realists. If one doesn’t grasp the depth involved, the popularity of such works might merely be explained by the fact that they are “understandable” representations of reality. That would be a sad underestimation. I prefer to believe that Hernán Miranda is constantly and earnestly seeking to move beyond that stage to apply his talent toward realizing the dreams that drive all artists to forge ahead.
— Olga Blinder, plastic artist and art critic, 1993

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