Hernan Munoz

His painting puts in jeopardy the laws of physics, destroys and rebuilds a new world that is as impossible as it is wonderful. It’s a new treaty about the Universe’s main forces. It challenges the gravitational pull and Newton himself, putting his apple to float sinfully. The magnetism of his objects captures our glance in a seductive enchantment. Going even further than the molecule itself, it poses a challenge to strong and weak forces, detaching atoms and realigning them under a variety of brand new materials. Flesh becomes stone, which in turn becomes everything and then more. The matters are alive to the point where they reproduce themselves. The same painting, besides being able to contain all the oppositional forces, picks with minutiae the subjects or the object to which they will apply.

His Surrealism does not go “beyond the real”, actually it works the opposite way, it is as real as any Realistic painting, it just portrays another reality. With an existential, organic strictness, it values the integration of fantasy in reality itself.

Space and time have a relationship that is as intimate as promiscuous, often interfering on each other’s territory. Time is a constant in this enormous Big Bang, which materializes and dematerializes itself, while expanding and contracting upon others and itself. It’s a permanent metamorphosis, an ongoing change, nothing is ever lost, everything is just going through mutation, the work, even though it’s finished, will keep changing, nothing stays out of it, not even us, everyone is part of this process.

The figures are not only capable of turning themselves into stone, unable to detach themselves from the ground, but they also have the ability to start levitating in a blink of an eye, becoming lighter than air itself. Moving away from us and getting closer to everything that represents the opposite of logic and is out of our control. 

The gaze is lost in a distant point, way beyond the frame’s boundaries. The shapes, whilst leaving behind the somber reality, change their own destiny, finding new planes for their existence. The planes move in front and behind each other, in a timeless form, as in the theory of relativity. The background plane often comprises skies that throw us back to distant greys and to Turner’s energetic brushstroke.
The arts, the painting and the literature are recurring themes in a harmonious dance. It even becomes a reflection about art itself, loaded with images, symbolism and figures of style where satire and critic find fertile ground.

The materials move through all states, sublimely stirring from the solid to the gas, paradoxically becoming one another in a pure cross-breeding of species: from wood juxtaposed with paper, to tableware, stone or even flesh itself. Nothing is left out or left to chance. The stone fights against the affectivity’s expression and even the expression of its emotions, its hardness and coldness uncover its impersonality. It shows its resistance to what flows and to what is capable of reproduction amid an absolute deprivation of vital energy.


Images try to unchain themselves from a destiny, a liberation that will provide them with life itself. They fight against petrification, some unanimated livingness, they run away from some spell or destiny, from their grayish, colder or darker side.

There’s a unity, which crosses the entire canvas and encompasses all of that diversity of matters and motives, throughout the whole composition. The strong and pure colors seem like they are gushing out of the painting and they bring a magnetism that is similar to Renaissance.

The light is pure and magic, sometimes it’s even purer than reality itself, it’s in its most sublime, untouchable state, it only and divinely touches the objects, revealing their soul while passing by them, targeting people as if they were true enlightened. Sometimes causing a chiaroscuro and a volume that throws us back to the classic antiquity.


The contrast is a constant in Muñoz’ work, not only the contrast between light and shadows, but the one coming out of textures, of materials, of colors and mainly the one coming out of the emotions and the energy that passes from one character to the others and that finally ends up infecting the viewer.

Everything is equally capable of being exactly precise as well as vague and undefined, in a sublime mastery between soft and hard edges, between transparencies and concealments, giving the solid elements a new condition and meaning. We are in a world between the tangible and the impossible. Akin to aspiring for wishes, waking up from a dream or an intangible design.

As André Breton, the founder of the surrealist movement, puts it:
“Can’t the dream also be used in solving the fundamental questions of life?”

Pedro Boaventura



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