Español / English 20:13 ; Saturday 16 October 2021

To see all the work of Carmelo Hernando as images,
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7-a-d-3( Publicaciones individuales/Atomic Child)



Spellbound Straw Dogs, self-portrait.


New Christ, Number One.


New Christ, Number Two.


Ever since my embryonic puberty up until my ear ended up with that well-turned shape you see on the cover, I had the opportunity of hearing the detonation of 5,485 thermo-nuclear bombs, which is why I’ve always thought of myself as an atomic kid with real problems with time.


- For Christ’s sake, gee up, mule.


The poor animal tries. The excess weight of its load, the steep climb and the ice collected during the night are just minor inconveniences that vanish in the face of the pain and the noise made by the stick when it falls time after time on its hind quarters.

The shoes on its hoofs send orange sparks flying in its battle to get a grip and forge ahead, uphill, over the frozen cobbles.

The dark, blue-gray morning is the same color as the hot, heaving breath expelled by man and beast. The woman in black heading downhill for mass rebukes the muleteer.


- Stop blaspheming, animal, you’ll go to hell.


Throughout the whole of that February, the thermometers won’t get above zero degrees centigrade, and from the small perspective of my two years of age I watch the giant icicles that hang down from the gums of the drainpipe tiles, aggressive like fangs, until they almost touch the sidewalks on either side of the paved street, the same street the mule and muleteer are climbing and the pious women is descending, and through my gloves I grab my mother’s hand.


Even though it is just a conventionality it is still strange to think that we accepted to set the timer at zero only two thousand and seven years ago, knowing all the while –and with each day more exactitude- the chronological evolution of our blue planet.


New Christ Looking at Gaia.


Gaia, Number One.


Gaia, Number Two.


Gaia, Number Three.


Gaia, Number Four.


Gaia, Number Five.


Gaia, Number Six.


In 1987 I created my first computer images without any physical support at all. Today, the technology I used seems prehistoric and oddly named: Targa System and Tips Software.


In 1991 I created my first image on a Mac using Adobe Photoshop, version 1.0. The image, which would evoke the coming of the new year in Madrid, is the product of the hybridization of highly diverse visual elements.


Come the end of summer 2006 and with my new Mac Ibook G.4 loaded with Photoshop CS2 (9.0), I once again set out on the road seeking to visualize the letters and words that would let me construct images with an intimately political intent.



We can now affirm that having based our development on the consumption of fossil fuels, a product of our past, has conditioned our present and is with all certainty destroying our future.



Untouchables, One.


Untouchables, Two.


Untouchables, Three.


Untouchables, Four.


Untouchables, Five.


“Both the fields of photography and silent movies and the field of photomontage hold as many possibilities as changes that may occur in the surrounding ambience, its social structure and in the psychological conditions resulting from it; and since the environment changes every day, it can be assured that the possibilities of development of photomontage, like those of the silent movies, are by no means “exhausted”, as in both one and the other it is a question of disciplining the creative media and of adapting and filtering the expressive form.”


Raoul Hausmann, Cologne, 1931



John Heartfield had a keen eye. Berlin, 1932, twelve years after he founded Dadá and eight years before the Second World War, he used Hitler’s face to semantically reveal that the emperor, once again, was naked.


His vision openly contradicted the widespread opinion of the European bourgeoisie that prized and praised the wonderful German suit.


Dadá defined photomontage as a powerful binary art that can take the form of advertising and politics alike.



The multinational corporations have already bought all the governments and the new emperor’s face has taken on the attractive and fluctuating shape of the voracious corporate pets of global consumerism.


Lost Children.


Crisis for Religious People, Number Four.


Surprised Citizen, Number Two.


Millionaire Popular People, Number One.


Hard-Working Technicians, Number One.


Surprised Citizen, Number One.


Crisis for Religious People, Number Three.


This year, 2007, is the thirtieth anniversary of the serialized edition of my first color prints as well as my arrival in Barcelona, and this spring is the twenty-fifth anniversary of my first individual exhibition in this city.


So many things were lost between the nineteenth and twentieth centuries that now, at the onset of the twenty-first, I am returning my attention to the painters I set my eyes on as a child:

René Magritte, Giorgio de Chirico and Henri Rousseau.


Thus, just like the customs officer, or even a little later than him, I have decided to use oil paints for the first time in my life.


Through them I am searching for transcendence in color, and in the formality to simply represent ancient anthropomorphic deities such as Khum himself, the ram that created human beings, with a piece of clay on his potter’s wheel, upriver at the mysterious source of the Nile.


But, at least, I have a TV serie on Internet.


Original Work of Art 1969-1984 rooms I to VI.


Original Work of Art 1983-2006 rooms VII to XII.


Original Audio-Visual Work of Art 1974-2004.


Single Exhibitions 1982-2000.


Exhibitions Curator 1988-2005.


Single Publications and Collective Exhibitions.


In working.


In working.


Editorial’s 1973-1987.


Editorial’s 1988-2006.


Mercaderia’s 1988-2003.


Mercaderia’s 2003-2006.


Current Work of Art.