Untitled Art | Nest sector – Booth A62 | Miami Beach

_VIGILGONZALES is pleased to present new work for this edition of Untitled Art Miami Beach by Miami-based artist Gonzalo Hernández. Gonzalo Hernández's work stands out for exploring themes of identity and belonging, questioning what it means to be a migrant in the United States and how shared experiences can serve as a bridge to unite the American community. From a deeply personal perspective, Hernández analyzes the complex processes of adaptation and resistance that migrants go through, revealing elements of identity that persist and transform in contact with a diverse culture. In his pieces, he manages to express both the solitude of uprooting and the power of integration, capturing the complexity of an experience that goes beyond geographical borders.

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Hernández, who is also a professor, weaves references to his teaching work throughout his art, especially in the use of theories such as Josef Albers' on color. This aspect of his work not only enriches his artistic practice but also reflects his commitment to teaching, where he uses Albers' principles to convey to his students a deep understanding of visual perception. Hernández integrates these lessons into his own visual exploration, establishing a dialogue between his work and the ideas of conceptual artists such as Joseph Beuys, Bruce Nauman, On Kawara, David Hammons, Joseph Kosuth, Barbara Kruger, Natalia Iguiñiz, and Félix González-Torres. This intersection of conceptual art influences underscores his ability to appropriate a global artistic language while incorporating elements from Latin American creole music, highlighting a cultural tradition that enriches his work and broadens the frame of reference of contemporary art.

Hernández's career has been consolidating in the Miami scene, a city known for its multicultural character and artistic dynamism. After obtaining a double master's degree from the Savannah College of Art and Design (SCAD), he has had the opportunity to develop his work at the Bakehouse Art Complex workshop and currently at Locust Projects, spaces that have allowed him to experiment and expand his artistic practice within a community of emerging artists.

 

 

 

His work uses weaving as a symbolic and expressive resource, where he explores the interweaving of textual and textile planes. Jacquard weaving techniques, for example, allow him to integrate verbal messages into the material support, giving his pieces a unique character that sits between the conceptual and the artisanal. This technical choice is not arbitrary but alludes to the richness and resilience of traditions, as if each thread were a migrant story that, when joined with others, weaves a framework of shared experiences.

Hernández's selection of works becomes, then, a tribute to the act of migrating and a reflection on the impact that displacement processes have on the construction of identities. In his teaching practice, Hernández observes how his students explore their own identities and how an education focused on inclusion can transform lives, encouraging young artists to build their own path in the art world. His work, in this way, not only reflects his own personal journey but also acts as a vehicle for collective empowerment and mutual support in the migrant community. Through his pieces, Hernández invites a dialogue about belonging, identity, and the possibility of building spaces of inclusion in art and society.