Vincenzo Monti 32, Milan 20123. Italy
WIZARD GALLERY is pleased to present a preview of a selection of recent works by Diango Hernández. The exhibition brings together a group of editions on paper from the well-known Pools Olaistas series, alongside a new metal sculpture that extends his research into the realm of objecthood and three-dimensionality.
Titled Cartoline d’Italia, the exhibition unfolds as a reflection on the imagery of travel, memory, and the construction of ideal landscapes. Hernández’s practice is articulated through a visual language grounded in distortion, fluidity, and the transformation of space, generating a perceptual field suspended between reality and projection.
The Pools Olaistas emerge as true mental architectures: spatial devices situated on an unstable threshold between desire, memory, and fiction. Within this context, they establish a close dialogue with landscape and Italian architectural tradition, evoking a sensibility deeply rooted in Renaissance culture, where painting and architecture function as speculative tools for the construction of possible worlds. As in ideal views and designed gardens of the Renaissance tradition, Hernández develops configurations in which nature and architecture interpenetrate according to a principle of formal harmony—here, however, traversed by a contemporary, fluid, and unstable tension. The pools thus appear as both reduced and expanded models of a broader territory: fragments of an ideal landscape that exists simultaneously within art history and the space of imagination.
The exhibition is completed by the presentation of the sculpture MARBA, a chair cast in bronze and finished with nickel plating. In this work, Hernández translates the formal principles of his practice into the domain of design and sculpture, reconfiguring the functional object as an autonomous presence, shaped by a tension between materiality, reflection, and perceptual dynamics.
With Cartoline d’Italia, Diango Hernández reaffirms his investigation of space as a device of projection, proposing environments that extend beyond representation to become sites of experience—places in which an idea of beauty, memory, and potentiality can be inhabited.
