Cuando bailamos, I // When We Dance, I
2022
Ana María Hernando
Niwot, Colorado
Artworks shown are selected from works submitted by the artist in their grant or residency application. All works are copyright of the artist or artist’s estate.
About Ana María Hernando
Ana María Hernando, originally from Argentina, is a Colorado-based multidisciplinary artist. She has a BFA from California College of the Arts, Oakland, and studied at Museum School, Boston, and Escuela Nacional de Bellas Artes P. Pueyrredón. Ana was the winner of the 2020 Prix Henry Clews in Sculpture awarded by La Napoule Art Foundation, with a one-year residency and solo major show at their Château de La Napoule in France. She has had other recent exhibitions at Denver Botanic Gardens, CU Art Museum, MCA Denver, Kemper Museum of Contemporary Art, Oklahoma Contemporary, Marfa Contemporary, and Bmoca. Hernando was included in Narrative Threads at the Moody Arts Center, Houston. In 2018, filmmaker Amie Knox released Undomesticated, a documentary about Ana’s work. She is the recipient of the First Prize for the 2021 Biennial of the Americas 2021. Her project Flowering Eulogy was commissioned by Boulder to commemorate the 2021 King Soopers’ shooting. She’s the 2022-2023 S*Park Resource Artist at Denver’s Redline Art Center. In Summer 2023, as the recipient of the Boedecker Path to Excellence Grant, Hernando presented Making a Mountain, an evolving performative installation, at the Dairy Art Center in Boulder, CO. Ana will represent Colorado in the 2024 Women to Watch exhibition at the National Museum of Women in the Arts.
Program Participation
Joan Mitchell Fellowship, 2023
Website / Social Links
As a multidisciplinary artist, my work focuses on the feminine, using empathy to make the invisible visible and to question our preconceptions of the other, their worth, and their value. In my recent pieces, I explore color and movement in tulle textural paintings that offer a feminine rejoinder to historical movements in abstractions. These framed textile works and installations unapologetically contradict and embrace the inherent lavishness of the tulle, alongside shared vibratory color, and spatial concerns.”
