The aim of this new work is to drive back the frontiers of the unknowable, its intention being none other than making possible a global deciphering of the world, starting from the privileged position of art, the poem or the painting. But to do this the painter's view will need to be inverted, as Hernández Pijuan suggests. It will not be forms that organise the composition; of them painting will need to retain only the strong, decisive elements, directing them towards abstraction by means of a kind of mesh. This is the origin of the flat, chromatic architecture that his painting becomes, an autonomous world, a measure and a metaphor of the world. Via a rigorous procedure everything is directed at the surface, which is transformed into an illuminated space. Ploughing across it, we see an oscillation of the graphic field, as in this Recorregut sobre paisatge blanc (Trajectory across White Landscape), suggesting the close, uninterrupted distance of a place traversed a thousand times. Because of this difficult balance between the graphic elements and the plastic essence, difficult because it is austere, these latest works show the tension of an absence better than others. More than speaking about something they bring us closer to the time of things, a landscape or a house, a tree or the Alhambra. This is why the dramatic austerity of the picture turns it into an essential scenario of the memory. Experience finds its moment of truth in the memory, and everything is subordinated to this ultimate economy.

FRANCISCO JARAUTA: “Pintura y conocimiento”, Hernández Pijuan. Obra 1993-1994, Madrid, Soledad Lorenzo Gallery, 1994, p. 8 (catalogue)