Carena
Sorres. Polished egg tempera, 2009. 162x130 cm.
Jaume March. El jove baró. Egg tempera and gold leaf burnished, 2009. 162x130 cm.
Naúfrago. Egg tempera and gold leaf burnished, 2009. 162x130 cm.
Desconsuelo. Polished egg tempera, 2009. 162x130 cm.
Esferas del sentido. Polished egg tempera, 2009. 100x100 cm.
Below: egg tempera on wine barrels, from the exhibition Vestigis (2009)
Carena
Badia
Carena


Celta. Oil/canvas, 2004, 100x100 cm.
Días de otoño. Oil/canvas, 2006, 100x100 cm.
Deshielo. Oil/canvas, 2004, 100x100 cm.
Paisaje en azul . Oil/canvas, 2005, 100x30 cm.
A. Hervás Amezcua, “Sin Título”, óleo sobre tela, 62,5x62,5 cm
Riglos. Oil/canvas, 2004, 40x40 cm.
Homage to Cesáreo Rodríguez-Aguilera

Visión de Islandia. Oil/canvas, 2004, 40x40 cm. Lámparas en la noche. Inspired in Viçent Llorca's poem Calendario de Instintos. Oil/canvas, 2004, 40x40 cm.
Estalla la tormenta. Oil/canvas, 2004
Algarabía. Oil/canvas, 2004, 40x40 cm.

Cometas. Oil/canvas. 50x50 cm, 2004 (detail). Puerto de Assilah. Watercolor, 2004.
The sky and me. Oil/canvas. 50x50 cm., 2004 The sea in mind. Oil/canvas. 50x50 cm, 2004 Kites. Oil/canvas. 50x50 cm, 2004

Rainy sky. Oil/canvas, 73x60 cm. Dream. Oil/canvas, 100x100 cm, 2004 Tempest moving away. Oil/canvas, 100x100 cm, 2004

City in half-light. Oil/canvas, 30x100 cm, 2004

Above: Hullabaloo. Oil/canvas, 62,5x62,5 cm, 2004
<- Abyss. Oil/canvas, 100x30 cm, 2004
Only way. Oil/canvas, 146x114 cm, 2004.

Trail of time. Oil/canvas, 30x100 cm, 2002
Saar trees. Waterpaper, 2003
Unreal landscape. Waterpaper, 2003
          Submarine. Oil/canvas, 100x30 cm, 2003  
Amazul beat. Oil/line, 62,5x125 cm, 2002
Cardina (2002). Oil/canvas, 40x40 cm. Esporóbulus (2002). Oil/canvas, 40x40 cm.
Above:"From the earth", oil painted on a hoe (Albacete, 1994).
Left: "Al-Andalus", oil on canvas, 100 x 30
cm. It is the cover of the singer Rosa Zaragoza's homonymous CD.
Tunicia
Sketch of Tunez. Watercolour on paper. 2001
Islands of light. Oil on canvas. 2000
The spirits of the water. 2000
Northern light. Oil on canvas. 2001

Esperando la noche. Óleo/lino 1998 Esperando la noche. Óleo/lino 1998 Esperando la noche. Óleo/lino 1998
Waiting for the night. Oil on linen, 1998


In Hervás' paintings there is a wish of cosmic universality; an expression, unique in its root and widely varied in its shapes, of creativity in pure state. From the sea shore of the Mediterranean sea -the great interior lake where he found out about life and learned about death-, where his most authentic paintings started to take shape after those first years of training and learning, Hervás Amezcua has travelled

Lifsrennig
Samuiska

towards the high sky, just like the prophet who was taken by a carriage of fire did; although he has also fallen, as a man who fears and commits sin, into the most deep abyss.

He has been able to capture and use those characteristics typical of an angel or a demon that coexist in any human. He has taken advantage of them without getting burnt in any of the two flames in which virtue and sin blaze. He is capable to tell us trough his art, the best of each of those two moments, the diverse anaemic moods which unconditionally, sooner or later, we all will experience.

Bruguers
Mauve moon. Gavà, 1998. Príncipe de Vergara Hotel, Madrid.

In this prophetic path, the artist has not always been in stress. Without leaving the tracks he took, he has appreciated the calm moments in his trips to Brazil, Iceland and Israel, just like he has enjoyed those moments before the departure and coming back to the beach of Gavà and the galaxy of sensations that it means to him.

In spite of this, he never forgot the mission he had imposed himself, the main objective of his trips: the discovering of his inner self through the knowledge of a world in which all human reactions have remained in pure state. (...)

The violence of the landscape chosen by the artist is praised by the beauty of tropical colours , and also by the areas in which the wind does and undoes at its own pleasure. And all of that is being nourished by a planet the tears leave aside in certain places, in order to show his burning heart. It is at this point that Hervás Amezcua's art shows its creative unity in the wide mental space of emotions. (...)

Gavà cel, terra y mar. Oil on canvas. Gavá 1995.
Diptych inspired in the space concept of architect Jaume Vendrell.

Light is a persistent element in painting and it is so in Hervás Amezcua's work as well. To my understanding, light's purpose is salvation, which connects with mystical experiences. Therefore, if we take advantage of the artistic help that he is offering us, we will be able to reach dream paradises in which imagination perpetuates all the contents of his art. (...)

Neguev
Birth
Manaus Garraf
        Carmel. Israel, 1990
Landing crafts . Los Ángeles, 1979
The nature through time. Iceland, 1994
Bodas de sangre. Israel, 1990
Mirror. Gavá, 2000
Beat. Gavá, 2000
Josep M. Cadena
(from "Hervás Amezcua y el pálpito de la materia")
Translation: Maribel Castillo & Cristina Cobo
Losti (Lust). 60x116 cm, oil on wood, 1994. Coll. National Bank of Island
Tot passa en el silenci. Hervás' pictures and Carlos Duarte's poems. (català and spanish)

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