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Artist Dan Hernandez






Dan Hernandez received a Bachelor of Fine Arts in 2000 from Northwest Missouri State in Maryville, MO, and a Masters of Fine Arts in 2002 from American University in Washington, DC. His paintings explore the visual dialog between religion, mythology, and pop culture.


His work has been presented in numerous exhibitions including shows at Kim Foster Gallery in New York City, Context Art Miami in Miami, FL, Mass Art Art Museum in Boston, MA, Matadero Center for Contemporary Creation in Madrid, Spain, and many others. Dan’s work has been widely written about and reproduced. It has appeared in ARTnews, HyperAllergic, Juxtapoz Magazine, New Art Examiner, Artillery Magazine, Arte Fuse, Gizmodo, Der Spiegel and many other online and print publications. Dan was awarded Ohio Arts Council Individual Excellency Awards in 2011, 2015, and 2025.


He is currently a Professor in the Art Department at the University of Toledo, Community Digital Artist in Residence at the Toledo Museum of Art and the President of the Board of Trustees at The Arts Commission.





"Early video game consoles like the Nintendo Entertainment System (NES) were designed with a reset button. When pressed, this button scrambled, and then rebooted, the software running on the consol. While it was not necessarily the intent of this feature, the reset button on my NES often got used in a release of frustration. My finger would jam this button in a fit of annoyance at an overly challenging level, or seemingly unbeatable computer opponent. These works explore a landscape that is being reset. They reflect on personal change, and on the climate of change in contemporary culture. They consider the ways that narratives anchor us, and the challenges that come with trying to break those ties. They also consider the messy nature of operating outside of the story, or of resetting the narrative entirely. The work draws influence from the visual language of early video games from the 1980s and early 90s and from non-perspectival forms of narrative image-making such as illuminated manuscripts, early Christian painting, Mesoamerican art and the like. The organization of forms in these works swings back and forth between narrative and abstract. It solidifies in places, only to fragment and break-down in others. This ebb and flow reflects on the dismantling and reframing of existing narratives that is prevalent in contemporary culture, but that is also ubiquitous throughout history. The work also employs patterning as an important visual element. This aspect of the imagery is a visual nod to both early video games and to illuminated manuscripts. It also considers the comfort that can be found in patterns, and the difficulty that comes with trying to break deeply engrained cycles. Furthermore, many of the works employ a limited palette. This design construct considers the infinite possibilities that exist in closely constrained parameters. Conversely, the use of limited palette in these works reflects upon the insular and polarized ways in which information is consumed via the internet, social media, and cable news. The limited palette becomes a symbol for sources that feel robust and full, while offering a perspective that is purposefully narrowly controlled and constricted. The work also considers the culture of collecting that is associated with video games, and more broadly with consumerism. In many games, the player is tasked with collecting items like, coins, gems, hearts, rings, easter eggs, or other items. The pursuit of items often directs the players actions in the game. It can also provide more expansive game play, creating additional risks, challenges, and rewards. This aspect of gaming is an apt metaphor. It reminds us of our obsession with things, the efforts that are made in service of their acquisition, and the way that collecting can distract us from achieving goals."





Tell us a little about yourself (where you are from) and your background in the arts.

I grew up in San Diego and moved to the Midwest in the early 1990s when my mom changed careers. I went to undergraduate school to study art in 1995 and have continued to make art since then. This is my 30th year on this journey.


What kind of work are you currently making?

I mostly work in 2D - Painting, screen prints and digital works.


What is a day like in the studio for you?

I show up, I get to work, I get into it, I get distracted, I take a break, I circle back and keep working, I discover something, I get excited, the excitement wears off, I take another break, etc. This is how it goes. Its ups and downs.


What are you looking at right now and/or reading?

I'm reading the 3rd book in Ken Fullett's Kingsbridge series. It's titled A Column of Fire.


Where can we find more of your work? (ex. website/insta/gallery/upcoming shows)













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