Hernán Salamanco

I had always been a bubble family boy. In the last year of the Pueyrredón School of Arts I traveled to Belgium to do a major in lithography which was later extended, then I realized that that was what I wanted to be, an Artist. I had no idea how to do it; my whole family comes from the veterinary industry. I enrolled in my second group "zero barred”. We had in mind to make our way out, no matter what. We began to exhibit in many places, important or not, few people many people, this gave us a starting shooting, a “rub”. In 97/98 I did my first works that I considered serious. Pixelated Series, infant aggressive paintings and drawings simil Dario Argento. There through Carolina Antoniadis which whom I shared the final year of the Pueyrredon School we met Florencia Braga. Knowing her definitely changed my conception of many things and with part of that group and other people we founded “The White Gallery” and there I exposed my work seriously for the first time along with Di Paola, Lozano and Bertone. At that time I had done all of the 50s genre scenes in naples and black tones. I painted on canvas with acrylic, and then the classical oil painting came, simile Darger "spiritual life". The use of metal came by searching rigid supports, they could be monumental and if industrial, better. The day I went to the shop where they produced them, I wanted them all. I tried my first painting on them and did the polar bear; we got on very well with the material, and we still do. I started using this media and up to now I continue to investigate while I get amazed by how ductile and malleable the combination enamel / metal can be. Initially these works were intended to be displayed outdoors, but I have not done so yet. I studied with an old school teacher Luis Roberto Duarte, cantankerous, he taught me to do color scales in paper rolls and cash register paper so that the amount of shades between the extremes could be as long as the sensitivity of the eye could stand. I studied a lot of composition and color picture with him and to reinforce what I had learned, I worked as assistance in restoration of easel painting for one year. The painting above all, but about everything. The work above all, before me, artist. I try to work hard and do my best all the time. Although I have my moments, my downs, black holes and uncertainties. My current paintings are faster than me. I cannot keep up to understand them, to know what is happening. I try to accelerate the internal connection and once I have it, I only stop when I'm satisfied, or when I'm too tired.