Azul is a testimony to the syncretism of Laura's visual ideas and philosophical speculations which, toguether with the magical bent og her native cultural baggage, give rise to a singular oeuvre composed in her very own laguage and achieved through her exellent formal execution. Her worl materializes her endeavor to paint ethereal and inscrutable things, those that we find around us but cannot capture. It also tries to encompass the whole that surrounds us and the nothingness that surpasses us -those thigs that exist but are not present, including the ungraspable nature og air, the fugacity of ever-flowing water, the fluidity of time, the cycles of nature, the movement of celestial bodies, the coming and going of the seas. Laura has proposed to depict water and air through plaful metaphors that evoke sensations and emotions without the last narrative intent.
Among the works that from Azul we find some particularities that are already part of the painter's personal language, and that recur in all her paintings inone way or another. The most obvious among those characteristics are the movement and repetition of forms. Laura Hernandez's are vertiginous and overflowing paintings of seemingly chaotic compositions, revealing melodic rhythms of multifarious textures-an abundant whole of many colors that blend in thick material layers, giving the canvas a secret voluptousness.
Azul sums up joy and sadness, fantasy and reality, an uncertain point of intersection between the heavenly and terrestrial kingdoms...
Germaine Gómez Haro