Andrea Luis Hernández was born in Tenerife, Canary Islands, Spain. Her work is the result of research, of herself, of a definitive style, etc. This operation concerns her nowadays multidisciplinary facet, working with different formats and techniques such as photography, painting, and sculpture. Although, her art career tends to be relocated onto the street and mural art with already successful mural interventions in the Canary Islands (Spain), Cologne (Germany), and Athens / Thessaloniki (Greece).
Nowadays, the search for her style has led Andrea to work on the use of techniques related to high painting in the world of Street Art and Graffiti. Through a baroque or neoclassical aesthetic, images of contemporary day-to-day life are translated acquiring a renewed importance.
The urgent need to generate expectations around the small things of the day today is the main effort of the artist. The idealization of reality, the ability to generate a discourse based on literary magical realism supposes a way of life, a generation, that of the artist, who bases his/her perception of the real on unattainable conceptions, on a plastic and unrealizable perfection registered in social networks, television, and the graphic world.
“Sirena” is an 8-meter mural representation of a mermaid, a symbol of the city or Castellammare, and also part of Greek and Roman mythology. The image is also a tribute to the erotic frescoes of the ancient Roman cities, those which, apart from being representative of the lifestyle of the Pompeian society, were also a rich part of the culture of the city. These frescoes were systematically allied, as opposed to the moral imposition of the Romans, first, and then of the Catholics during medieval times.
“Sirena” è una rappresentazione murale di 8
metri di una sirena, simbolo della città o Castellamare e anche parte del greco
e mitologia romana. L’immagine è anche un omaggio al affreschi erotici delle
città antiche romane, quelli che, a parte essendo rappresentativi dello stile
di vita della società pompeiana, erano anche una parte ricca della cultura
della città. Questi affreschi erano sistematicamente alleati, in quanto
contrari all’imposizione morale dei romani, prima, e poi dei cattolici durante