One of the themes that interests the Mexican artist, Jonathan Hernandez, the most is the definition of the status of the visual in the modern world. In his works, Hernandez often uses images made by others- report photos from newspapers, snapshots, post-cards, advertisements. Rubbing off all names and textual information which could help people recognize the origin and contents of the image, Hernandez leaves the viewer by himself with visual material as it is, with its potential meanings. In this way interpretation becomes the viewer’s job.
Jonathan Hernandez’s collages are meticulous abstract designs built from the ubiquitous press photographs that Hernandez has been extracting from public media as part of an ongoing archive. In an interaction he describes as “ping-pong,” Hernandez juxtaposes images that celebrate victory alongside those that bear witness to atrocity: celebrities are next to victims of violence, expressions of euphoria are enmeshed with those of despair, like the fusion that might be said to characterize the current moment.