© 2019 por Ik Projects.

 Av. Mariscal La Mar 1265, Miraflores.

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The painting embedded on the wall is a copy of a López Ruiz painting. This author, whose origin is located in Cádiz, developed a great part of his career as painter and academic of fine arts in the Canary Islands during the first half of the 20th century. He was mainly recognized for his seascapes which were highly acclaimed by the middle class.

This particular painting is one of the most appreciated López Ruiz work, painted before one of his favorites locations in Tenerife, San Andrés Bay.

For family reasons, we inherited this marina. We wanted to copy the original painting and confine this copy to one of the gallery walls as in an exercise of historical memory and better comprehension of our more immediate context.

San Andrés Bay was chosen, during the Spanish Civil War, as an emplacement for a large number of prison ships. Hundreds, perhaps even thousands of people died inside those provisional prisons and then thrown into the sea.  The details are still unknown, they are part of the history -our history- that remains covert.


The artistic project of Lecuona and Hernández is based on the process of construction of the images, on how to contribute physicality, body and materiality, to a set of abstractions that make up our historical, social and cultural imaginary. For them it is fundamental to understand how to build an image that is current, that is updated as it is affected by the cultural keys of the context in which it is registered at that moment. For this reason they are constantly reviewing and revising their own work and therefore they are interested in the site specific, because the work in a specific context always challenges and manifests itself as a continuous and living process. Somehow, in their relationship with the images, they continually look for their other side, the backstage and the scaffolding; which allows the image to hold.


Another of his most obvious interests is to maintain the validity of the pictorial memory, amplify and resize the painting, tearing it from the frame, from the canvas and freeing it from the frame, to insert it into a process of continuous materialization and dematerialization. His desire is to speak of the pictorial tension, of how the gaze is constructed. For both, it is essential to participate in the physical construction of the pieces, which always have a performative component and to explore the different ways and means with which to "cook" the art under a firm experimental will. Hence also that they slide without shame for any type of artistic medium be installation, performance, video, etc. They understand the work of the artist as that of a producer of relationships and experiences in a field always expanded and always porous.