Recalling the landscapes by Clyfford Still for its open composition, Sfumato (Epic), 2014, is the piece responsible for leading the viewer’s path into every corner, supporting the flow and the rhythm of the exhibition’s poetics. It takes over and carries visitors through Fernández’ reality, in which she creates wall drawings within the installation challenging their conception of such. The synergic influx moves from one hall to the next, spreading intense waves that expand and contract, creating quiet moments that lead to intimacy and introspective silence.
Sfumato is an expanded version of Epic, installed at the University of South Florida in 2009, where thousands of small landscape solid graphite pieces are individually pinned into the white wall; below each of them is a residual trace of what looks like a minuscule trajectory of the rock before it settled in place. Museographically and from its arrangement the installation leads into Black Sun (2014) at the main gallery.
More than one hundred feet long, the tour de force multilevel gallery space is dominated by the suspending Black Sun. Made of floating polycarbonate tubes, invisibly held from the ceiling and disposed in an harmonious undulating order, the installation is a larger version of Fernández’ Night Writing (2012), seen at a comparable place in Lehmann Maupin’s Chrystie Street Gallery in New York. In this rendition, the blacks and greys stay, while the previous boreal pink is replaced by a spectrum of golden yellow tones. The effect takes the work toward a different direction. What was nighttime northern light is now a golden enlightened path. The industrial quality of the polycarbonate tubes, the creative lightness and simplicity of the manner she uses to assemble the work converge with the practice and poetic of
Félix González-Torres, an artist Fernández has met and admired.