Secundino Hernández talks to Ocula about his new exhibition, Problematic Corners

Traditionally, painting has favoured rectangular canvases, a standard in Western art history. From Renaissance 'tondos' to abstract paintings in the 1960s framed on unconventional shapes like parallelograms, diamonds, or rhomboids, the shaped canvas has emerged as a way to disrupt aesthetic norms. 

Secundino Hernández contributes to this discourse by rejecting the familiar rectangle in favour of oval-shaped canvases.

In his solo exhibition, Problematic Corners (10 April–18 May 2024), at Victoria Miro in London, the Spanish artist presents a series of new cornerless paintings. Bringing together bold hues, gestural lines, and mosaic-like patterns, Hernández introduces an exploration of space and form that stresses new challenges and alternate perspectives in painting.

Hernández shares insights into his affinity for the oval form, what inspires him most, and the unexpected parallels he discovered between winemaking at his Spanish vineyard and his creative process.

Tell me about your upbringing. Can you remember your first encounter with art?

For as long as I can remember, I've held pencils and paintbrushes. While other children played football, I spent my afternoons drawing. It wasn't until my parents enrolled me in drawing and painting classes that I saw a clear way to develop this interest.I realised my only path was to fully dedicate myself to art, especially considering I wasn't a very good student in other subjects. That was the beginning of what you might call the 'first impulse'.

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Image: Secundino Hernández, Madrid (2024)

© Secundino Hernández Studio

Courtesy the artist and Victoria Miro

Photo: Rafael Trapiello.