Luis Alberto Hernández was born on November 15th of 1950 in Puerto La Cruz, Venezuela. At the age of 18 he began drawing lessons at the Francisco Pimentel Center in Caracas and subsequently conducts studies at Central University of Venezuela obtaining degrees in Art and Literature. In various cultural institutions in Caracas, he also studies at the Cristóbal Rojas School of Visual Arts, Graphic teaching Center (CEGRA), theology at the Theological- Institute for the Religious (ITER), and participates in numerous lectures about History, Art Appreciation, Art critique and History of Aesthetic Ideas. Hernández was a university professor for over ten years in Art History, Drawing, Aesthetics and Visual-Art Elements at the Institute of Advanced Studies of Visual Arts Armando Reverón and the School of Visual Arts Cristobal Rojas in Caracas, Venezuela.
The artwork of Luis Alberto Hernández intends to establish ties between our earthly limitations and the Infinite through an artistic discourse where the image acquire symbolic dimensions that refer to the ultimate essence of religion, picking through this search the longing for eternity, inseparable from the human conscience.
It is a sort of personal philosophy, an elaborated within and from the praxis of creation that involves elements of the process such as inspiration and abilities; vital or existential circumstances (anxieties, illuminations); and ontological aspirations (What are we? What is the Sacred?). In this reflection of his art is linked to a religious experience, since both disciplines of the spirit represent a response to the enigma of Creation.
Art takes the seductive power of images, of religiosity, their capacity to go beyond the evident. Numen and image are, thus, the main elements of Luis Alberto Hernandez’s work. His Poetry of the Sacred unveils for us the persistence or the necessity of artistic elements (signs, symbols), and a firm conviction in an extra-logic potential (dream revelations, ecstasies, intuitions, rage). This artist evidently speaks of something more than the use of colors and lines; he refers to an unexplainable energy – unknown, but indisputable since human beings can conduce it magically. Magic is not only an energetic force. In the art context, it is also a grace or gift that awakens prudence or enthusiasm among spectators, but never neutral reactions.
Cluny Cathedral, Burgundy, France (2017).
Palazzo Trinci / Foligno, Perugia (Italy, 2013)
National Library Braidense, Milano (Italy, 2012)
Centre d'Art Contemporain Frank Popper (Saône-et-Loire, France, 2011)
Castel San Pietro Terme-Bo, Bologna (Italy, 2010)
Cloître des Billettes, Paris in France (2009)
Crypt of the Santa Eugenia Church, during the XIV Festival of Biarritz in France (2005)
Cite Internationale des Arts, Paris (France, 2005)
UNESCO in Paris, France (2002)
Museum of Art of Gerona in Spain (2001)
Haus Völker und Kulturen Museum in Bonn, Germany (2000)
"Cluny Cathedral", Burgundy, France (2017).
"CENTO + 1. Libri d'Artista Micro to Macro". Palazzo Trinci / Foligno, Perugia (Italy, 2013)
"Piccoli, piccolissimi, anzi grandissimi. Libri di piccolo format e libri d'artista". National Library Braidense, Milano (Italy, 2012)
"Venezuela in Arts, 6ème Biennale internationale de l'art contemporain and monumental Marcigny" Centre d'Art Contemporain Frank Popper (Saône-et-Loire, France, 2011)