Adrián Fernández (Havana, 1984) is one of those artists with a restless intellect. For him, image is not only support, but gains life in each of his proposals and becomes the essence of his creative condition. Even surrounded by the most dissimilar settings, Adrián does not feel that everything may be an effective motive to emit a coherent speech through photography. With mistrust, he analyzes the environment, his own impulses, the ideas, he struggles when choosing a novel and sufficiently versatile topic so, even emerging from the context in which he performs, he is capable of connecting with a larger universe of meanings.
Adrián is interested in exploiting to the utmost the possibilities of photography and reaching a formal result discoursing on the individual and the identity without needing to return to hackneyed codes. In the dynamics of the creative process, he is few times satisfied with the initial results; every idea must represent a challenge, each work should go further than the former one. However, quite the opposite from his restless inventive, the realization of the work is exceedingly organized. His task has been characterized by the presentation of photographic series that many times become detached one from the other based on conceptual connections, but not because of that they do not project themselves with independence and a life of their own.
[…] If we closely follow the work of this photographer, we find that his creative interests have remained stable on a common topic: the strength of images to speechify on the identity of the individual or the reality of a given context. However, the result considerably varies from one series to the next, in function of the expressive need in question, and that is why he splits into two as a different artist in each of his works.