1204 Avenida Juan Ponce de León
San Juan, San Juan, 00907
Puerto Rico

9392807770

The practice of Ricardo Morales-Hernández(b.1980) consists in drawing a personal, political and cosmic story. He uses analog, digital and biological media with a main focus in extemporal drawing. Known for his paradisiac imagery evoking musical systems that reminisce the natural surroundings of the colony of Puerto Rico. Historical relations can be traced from: primitive markings, medieval marginalia, neo-expressionism and post-digital aesthetics while at the same time questioning the dominant discourses of contemporary art. He deserted studies in Media Arts, Religion and Social Sciences and been recipient of AIR–CPW- Andy Warhol Foundation, National Endowment for the Arts and Center for Image Science in Austria among others. Currently he works from San Juan, Puerto Rico.

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Sea

 
 

Water

As water revolves and react among the forms of a rock so is this manifesto.

 —

Creation presuppose mind

The imagination of God infinitely surpasses ours. 

The imagination of God includes; death processes , marine monsters, carnivore plants, water and organic memory among many other visible or invisible things that take form.

Of course we know there is a God, is evident in nature but we suppress this knowledge.

Fallen worlds become a playground-theater for God imagined species and eternal drama.

There is two mysteries we fail to understand: the nature of death and the origin of evil. Both are abnormally alienating, parasitic from life, disregarding God and others.

 
 
Stick collection (Process) Dorado, 2016

Stick collection (Process)
Dorado, 2016

 
View from the Charcoal Studio, Aguas Buenas Puerto Rico, 2017

View from the Charcoal Studio, Aguas Buenas Puerto Rico, 2017

 

Fire

When material become something else it doesn’t have to be boring or dull. Carbon is one of the most abundant mineral on planet. Diamonds aren’t. Scarcity and purity give a great value to diamonds. Also our crave for beauty, security and for less perishable things make gold for example, more valuable.

Some experts seems to notice the difference between real and fake diamonds. It’s the most natural of process that transforms a carbon to a diamond. As a carbon become into diamond enough pressure, heat and time had to be produce in order that the new object is made. A change of constitution has taken place now and for the charcoal-diamond it seems to be irreversible.

And it so for other natural organism, as a monarch butterfly, for food preparation, digestion, sex or growing.   

As decay seems to be an universal causality it is natural for humans to crave for something that they do not had, as gold, diamonds, health, butterflies, sex or happiness. In both cases; the compulsion for something that you don’t have or other phases; the gratification sense of acquiring or becoming ignite a very deep power struggle. 

Lust as fire seems to govern, emotional, political and economical arena. Science is a new kind of fast lure or religion for survival or success. But patience give character, and character brings deliver otherworldly hope in so many forms. 

Some people said that Da’Vinci was scared about the idea of end of the world via water, John Martin (the apocalyptic painter) was obsessed with the biblical idea of the fire consummation as the apostle Peter tells:

“But the day of the Lord will come as a thief in the night; in the which the heavens shall pass away with a great noise, and the elements shall melt with fervent heat, the earth also and the works that are therein shall be burned up.”        2Pe 3:10 KJV

Interestingly enough is that both Art Grandpas depicts reigns, or castles, people or architecture in minuscule form, unveiled or subtle on the way to becoming.

But in any case, I am preparing charcoal from decaying tropical forest and making artworks that are metaphorical diamonds or even can become too.
 

(on review) 2017®

 
SDG-017-002, 2017 Artist made charcoal on canvas.30x40  

SDG-017-002, 2017
Artist made charcoal on canvas.30x40
 

 
SDG-016-007, 2016 Artist made charcoal 56x42

SDG-016-007, 2016
Artist made charcoal 56x42

 
 
SDG-016-019 Artist made charcoal on canvas and wood. 9x6' aprox II Bienal Tropical. Curated by Pablo de la Barra, Marina Reyes & Stefan Benchoam. 2016

SDG-016-019
Artist made charcoal on canvas and wood.
9x6' aprox

II Bienal Tropical. Curated by Pablo de la Barra, Marina Reyes & Stefan Benchoam. 2016

 
 
 
 
process, 2015-2017

process, 2015-2017

The End For Which God Created the World

Thus, that nature in a tree, by which it puts forth buds, shoots out branches, and brings forth leaves and fruit, is a disposition that terminates in its own complete self. And so the disposition in the sun to shine, or abundantly to diffuse its fullness, warmth, and brightness is only a tendency to its own most glorious and complete state. So God looks on the communication of himself and the emanation of his infinite glory to belong to the fullness and completeness of himself, as though he were not in his most glorious state without it. -

Jonathan Edwards
 

 
 
 
 
 
 
 
 
Sea. Estudios del Agua / Studies of Water SDG(SEA)-016-016. 2010-2016 Acrylic, canvas, paper, collage, construction chalk, poly and sand on canvas. 56x42"

Sea. Estudios del Agua / Studies of Water
SDG(SEA)-016-016. 2010-2016
Acrylic, canvas, paper, collage, construction chalk,
poly and sand on canvas. 56x42"

 

View from the Compost Studio, Aguas Buenas, Puerto Rico,2017

 
 

Dust

Integrity is not a virtue we posses
is a virtue to be pursued
and protected
in the boundaries of humility
and acknowledge a deep, raw, deep understanding
that we are dust

-
Excerpt of the poem
Integrity by Jeanine Martínez

 

 

 
 
 

View from Cidra Studio, Cidra, Puerto Rico, 2016

 

Some historical precedents 

John Martin The Great Day of His Wrath circa 1851

John Martin
The Great Day of His Wrath circa 1851

The Destruction of Leviathan Doré

The Destruction of Leviathan
Doré

 
 
Rafael Tufiño. Fuego, Fuego, Fuego Portafolio de Plena, 1953-1954 

Rafael Tufiño. Fuego, Fuego, Fuego Portafolio de Plena, 1953-1954 

 
 
Leonardo DaVinci Studies of Water

Leonardo DaVinci
Studies of Water

Leonardo DaVinci Visions of the end of the world / A Deluge http://faculty.virginia.edu/Fiorani/NEH-Institute/essays/stewart

Leonardo DaVinci
Visions of the end of the world / A Deluge

http://faculty.virginia.edu/Fiorani/NEH-Institute/essays/stewart

The last manifestation of Leonardo’s art of expression was in his series of pictorial sketches Visions of the End of the World (c. 1514–15). There Leonardo’s power of imagination—born of reason and fantasy—attained its highest level. Leonardo suggested that the immaterial forces in the cosmos, invisible in themselves, appear in the material things they set in motion. What he had observed in the swirling of water and eddying of air, in the shape of a mountain boulder and in the growth of plants, now assumed gigantic shape in cloud formations and rainstorms. He depicted the framework of the world as splitting asunder, but even in its destruction there occurs—as the monstrously “beautiful” forms of the unleashed elements show—the self-same laws of order, harmony, and proportion that presided at the world’s creation. These rules govern the life and death of every created thing in nature. Without any precedent, these “visions” are the last and most original expressions of Leonardo’s art—an art in which his perception based on saper vedere seems to have come to fruition.

 

 

 

 
 
 

Answer me, O LORD, answer me, that this people may know that You, O LORD, are God, and that You have turned their heart back again." Then the fire of the LORD fell and consumed the burnt offering and the wood and the stones and the dust, and licked up the water that was in the trench. When all the people saw it, they fell on their faces; and they said, "The LORD, He is God; the LORD, He is God."…

1 Kings 18:38

Elijah on Mt. Carmel Dura Europos synagogue, c. 245 CE.

Elijah on Mt. Carmel
Dura Europos synagogue, c. 245 CE.