Much of Hernandez’s work confronts spaces of holy significance and geometric precision. This reveals a converging aesthetic that will be familiar to anyone who has visited a church or temple, a graveyard or a museum, a barren desert or a civic center. His images/objects feign a cartographic process, but one where the assumptions of authority are tested. Objective realities proposed by both maps and photographs are similarly confusing, although pulling in opposite directions. The traditional operation of a photograph presents the viewer with a singular subjectivity, that of the apparatus, the location of the camera. Conversely, a geographic map suggests that in the terrain represented, “you are here” or “here” or “here.” On one you cannot ever locate yourself in the projected image, and in the other you cannot help but “find yourself” in its representation. It is only human that we desire to have our “perspective” understood, respected and seen by others. To achieve this exchange with greater accuracy has long been the goal of man and machine. Hernandez approaches, with beautiful futility, a universe that has no math, no map, no image and no place from which one can really take it all in. (exilechild.com)