Vocation and effort synthesize the trajectory of Leonardo Fernandez. The vocacion wakes up in early moments of its life the decision to devote itself to the painting. The effort was stimulating him to maintain the commitment over adversities and relating to the moment circumstances. Along with both factors, a third one; the sincerity. Leonardo is an artist educated in those budgets that understand the painting as a classic exercise of skill, composition, drawing and coloring. And as such, it assumes in a free and premeditated way an academic language with which it goes so far as to establish a full identification. He is not faced by another target than of satisfying an individual conviction to the margin of any genre of pretentiousness , of rherorical justification, the debate and the hagiography of lost causes.

It is not surprised that they give priority in its work to the mimetic facets that aspire to excite the sensitive mechanisms of the vison. And ultimately, also they invite to the search of born details of the waste of patience and fastidiousness applied by the painter. With it, he hopes to give river bed to a narrative sensibility inclined to investigate them descriptively up to its most detailed ambience. The interior object in its most varied diversification integrates into the ambience of the picture in a wide range of “stages” that range from the intimacy of the feminine bedroom, to the Bohemian and slovenly corner of the study where old photographic relics crowd along with eternal movies pictures, without forgetting the affectionate ambience of domestic bends that already are part of the memory of a time “re-discovered” by the unforeseeable comment and the “indiscretion” of the spectator of shift, to which it is touched to be poked in the semiopen drawers of the house. The flowers and the intimacy of a plethoric feminine lyricisms universe coexist presence and “outsider” of the machine the skill of the painter put itself to the test to face the imitation of type of matters and textures. In any case, the contrast is imposed by means of its juxtaposition to other icons. In them there get sensory connotations contributed by the fragility and transparence of the glass, the warmth of the turned wood and frames with arabesques profusion, the dryness of the piece woodworker, the polish of the coloring ceramics, the rugosity of the rusty metal, the naivety of the china and the sheen of the silver. Neither is missing the proper image of the artist reflected in the polishing environment of a surface that a refuses to deprive of its coldness and fights to technical boasting of numerous works especially inclined to the light and attentive study to the qualities of the objects.

Not in vain, the tactile qualities of the object take a fancy like the first guarantor of its corporeity. A few values solved always with the seemingly spontaneous touch of the daily thing. This way it claims the taste for conquering the difficulty of representing and of imitating the reality for question of pure and simple pleasure.

Juan Antonio Sánchez López

Department of Art History

University of Málaga