and We Own The Night, 2020
Mixed media on canvas
14” x 11”
Beneath Strange Skies, 2019
Mixed media on canvas
10” x 8”
Hour Lines, 2018
Mixed media on canvas
10” x 8”
It has been said that, “to forgive is to set a prisoner free and discover that the prisoner was you”, 2018
Mixed media on handmade paper sourced from recycled materials
54” x 60” x 1.5”
In many practices, it is believed that there are inherently therapeutic properties derived from the stages of breakdown to breakthrough. These periods, both internal and external and ranging from large to small components, are at their best transformative processes resulting in a release of emotional and physical confinement.
The feat of releasing pain, relieving trauma, and progressively healing in spite of ongoing institutional racism, systemic discrimination, and structural stigma is an impressive display of dignity and defiance. Furthermore, to reach a higher level of consciousness where one is capable of the advocacy of forgiveness, is perhaps the ultimate form of sight and vision.
Out There, 2018
Handmade paper pulped from hand written letters dating the years long correspondence between the artist and Herman Wallace of the Angola 3, plastic, on screen mesh
32” x 42” x 1.5”
By utilizing the tactile system of braille to spell the words, “out there”, this work is a manifestation of the physical transformation of written letters, dating the years long correspondence between Ana Hernandez and Herman Wallace of the Angola 3.
Does it Take a Literacy Test to Read and Interpret the Implications of An All White Male Jury, 2016
Concrete, latex house paint, paper, styrofoam on wood panel in artists frame
34” x 80” x 5”
By featuring four letters in the foreground that spell out the word “jury” in the tactile writing system of braille, Does it Take a Literacy Test to Read and Interpret the Implications of An All White Male Jury is a response to accounts of the government supported administration of literacy tests and the significance of these tests as a method to disenfranchise racial minorities. In the background, the repetitive layering of the XY male chromosome letters from the XX/XY sex-discrimination system found in humans, paints the piece as a reflection of the sordid history of discrimination in the jury selection process and emphasizes the implications of it’s lingering prevalence.