Herbert Hamak

  • Herbert Hamak
    Sans Titre, 2014
    Pigment and resin on canvas
    35 x 35 x 7,5 cm

  • Herbert Hamak
    Permanent Rot, 2003
    Pigment and resin on canvas
    100 x 100 cm

  • Herbert Hamak
    Lega Mask, 2014
    Pigment and resin on canvas
    55 x 35 x 16 cm

  • Herbert Hamak
    Sofía, 2014
    Pigment and resin on canvas
    55 x 65 x 8,5 cm

  • Herbert Hamak
    Malachit Synthetic, 2010
    Pigment and resin on canvas
    100 x 100 x 22 cm

  • Herbert Hamak
    Selbstportrait, 2014
    Pigment and resin on canvas
    65 x 53 x 8,5 cm

  • Herbert Hamak
    Rosa Quinto, 2011
    Pigment and resin on canvas
    30,5 x 30,5 x 11,5 cm

  • Herbert Hamak
    Sans Titre, 2011
    Pigment and resin on canvas
    22 x 22 x 17 cm

  • Herbert Hamak
    Sans Titre, 2010
    Pigment and resin on canvas
    60 x 60 x 9 cm

  • Herbert Hamak
    Sans Titre, 2011
    Pigment and resin on canvas
    20 x 20 x 6 cm (each)

  • Herbert Hamak
    Sans Titre, 2010
    Pigment and resin on canvas
    120 x 23,5 x 17 cm

  • Herbert Hamak
    Sans Titre, 2011
    Pigment and reproduction on paper, resin on canvas
    68 x 75 x 10 cm

  • Herbert Hamak
    Sans Titre, 2001
    Pigment and resin on canvas
    18,5 x 23 x 18,5 cm

  • Herbert Hamak
    Sans Titre, 2005-2006
    Pigment and resin
    310 x 21 x 21 cm

  • Herbert Hamak
    Sans Titre, 2006
    Pigment, resin and canvas
    248 x 19 x 19 cm

  • Herbert Hamak
    Sans Titre, 2010
    Resin and pigment
    50 x 24 x 24 cm

  • Herbert Hamak
    Sans Titre, 1997
    Pigment and resin on canvas
    51,5 x 85 cm

Herbert Hamak’s method for creating these forms results from his expertise in mixing pigments with resin and wax. This liquid substance is molded on a conventionally constructed canvas, which provides structure for it. Even though his method mandates the perfect mastering of the medium, the artist allows serendipity every opportunity to intervene: chance causes bubbles and distortions during the drying process and the exterior conditions alter the pigment colors. Thus, nothing is ever entirely controlled in Hamak’s work; repeating the same actions would produce different results. Starting with the 300 or so pigments present in nature, Hamak plays with both the physical properties that allow color to appear to the eye and also with the diverse aesthetic mediums that enable color to attract our eyes. Since color results from a complex chemical process, Hamak’s works focus on color as both a physical material and as a property that reflects light. Because the color is imprissoned in a translucid material, it can interact with the surrounding light. Surfaces of paintings normally relect light, but Hamak’s paintings allows light to penetrate them. Light passes through the paintings, endowing them with a vaporous aspect that belies the true weight and mass of the object.

Exhibitions