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Ana Berta Hernandez, Artist | HOME

ANA berta HERNANDEZ

ARTIST

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy (The Permian)

Acrylic, charcoal, nails on wood panel
48” x 48” x 3”

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy is a body of work that is the result of my research into areas of human rights abuses that stem from the practices and production of the oil and gas industry; specifically, their exploration of select geographical locations and the subsequent extraction of the resources “discovered” within these particular geological formations.  This series is a visual representation of ecological trauma, it aims to highlight the dissection and destruction of a physical and psychological landscape, whose vulnerable and shifting body print can be traced and mapped by the scars of injury left on the environment and all who inhabit it. 

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy (The Eagle Ford)

Acrylic, charcoal, nails on wood panel
24” x 48” x 3"

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy is a body of work that is the result of my research into areas of human rights abuses that stem from the practices and production of the oil and gas industry; specifically, their exploration of select geographical locations and the subsequent extraction of the resources “discovered” within these particular geological formations.  This series is a visual representation of ecological trauma, it aims to highlight the dissection and destruction of a physical and psychological landscape, whose vulnerable and shifting body print can be traced and mapped by the scars of injury left on the environment and all who inhabit it. 

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy (The Marcellus)

Acrylic, charcoal, nails on wood panel
24” x 48” x 3”

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy is a body of work that is the result of my research into areas of human rights abuses that stem from the practices and production of the oil and gas industry; specifically, their exploration of select geographical locations and the subsequent extraction of the resources “discovered” within these particular geological formations.  This series is a visual representation of ecological trauma, it aims to highlight the dissection and destruction of a physical and psychological landscape, whose vulnerable and shifting body print can be traced and mapped by the scars of injury left on the environment and all who inhabit it. 

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy (The Bakken)

Acrylic, charcoal, nails on wood panel
24” x 48” x 2”

Altering Internal Landscapes: In pursuit of unearthing bodies of Energy is a body of work that is the result of my research into areas of human rights abuses that stem from the practices and production of the oil and gas industry; specifically, their exploration of select geographical locations and the subsequent extraction of the resources “discovered” within these particular geological formations.  This series is a visual representation of ecological trauma, it aims to highlight the dissection and destruction of a physical and psychological landscape, whose vulnerable and shifting body print can be traced and mapped by the scars of injury left on the environment and all who inhabit it. 

Second Sight 2

Acrylic, latex house paint, oil pastel, cast glass with nails on wood panel in artists frame
49” x 49” x 4”

Influenced by my interest in the anatomy of the human eye and based on a diagram of the structure of the retina, Second Sight is a layered interpretation on the power of vision and in homage to minkisi figures, which have been historically used in healing rituals and divination practices. 

 

True North

Acrylic, latex house paint, found wood, metal, nails, wire, wood stain on wood panel
96” x 18” x 4”

True North is a consideration of the direction in which we choose to lead our lives, specifically the ways in which human existence and the implications of our activity correlate with climate change. 

The Persistence of Plastic Pollutants: A man-induced invasive species

Found metal ivy leaves on found horticultural plastic trays
120” x 72” x 24”

 

The OIL in the SOIL

Acrylic, latex house paint, found horticultural plastic trays on PVC pipe
6’ x 14’ x 1’

The Same

Acrylic, latex house paint, concrete, copper and steel wire, nails on wood panel
78” x 78” x 24"

The Same is a reflection of my consideration for the significance in the power of energy that exists in our nearest star and is titled after words from Emersons’, Blight

 

Untitled

Found postcards, found paper dolls on deconstructed book
14” x 18.5”

Internalizing the Weight of the Male Gaze

Pins, thread, fish sinkers, found paper male anatomical illustrations, found paper dolls on book covers and spine
14” x 41” x 1”

Internalizing the Weight of the Male Gaze is an examination of the historical relevance of teaching materials.  It is a consideration of educational toys and tools as weapons that are systematically designed to play a role in reinforcing the socially constructed notion of the feminine beauty ideal.  The result of this conditioning is the persistence and prevalence of the objectification of women, therefore psychologically and physically stripping them of their agency and internally and externally affecting the ways in which they are forced to navigate the spaces they occupy. 

Hooks in the Hanged Man

Deconstructed book pages on picket fence board
72” x 27” x 1”

Hooks in the Hanged Man is my response to these words written by Bell Hooks:
 
“When liberal whites fail to understand how they can and/or do embody white supremacist values and beliefs even though they many not embrace racism as prejudice or domination (especially domination that involves coercive control), they cannot recognize the ways their actions support and affirm the very structure of racist domination and oppression that they wish to see eradicated.”

The Sound of Shooting Stars

Latex house paint, wood glue, juniper berries, pink Himalayan sea salt, sage on canvas
38.5” x 47.5” x 2”

The Lust of the Flesh

Latex house paint, wood glue, juniper berries, pink Himalayan sea salt, sage on canvas
48” x 52” x 2”

Internal Compass

Cast glass, chalk pastel, wood stain on wood panel in artists frame
48” x 48.5” x 5”

The Inversion of White Flight

Latex house paint, American flag packaging tape on found cardboard moving boxes
12’ x 6 ’x 2.5’

They call it, “The Shooting Side”

Acrylic, burlap, cement, parchment tracing paper, stretch wrap, thread on canvas
48” x 61.5” x 2”

They Call it, “The Shooting Side” is a contemplation on the local color line divide and a reaction to the disparagingly descriptive words that transplants regularly remark, when referring to the crossing of the neutral ground, from one side to the other, in the St. Claude area.

 

Deconstructing Facades and the Fallacies within Narratives of the Past, Present, and Future

Deconstructed book, metal fence, metal handle, nails on wood panel
21” x 21” x 2”