Fernando Herenu (Aka Pulpocorporate): Much of my experience has to do traveling around the different regions. At first I had the strong feeling that my work had nothing to do with Latin American style, but every day that passes I realize it would be impossible to believe that my drawings come from another region. I feel I have a strong presence of Latin spirit in my stuff. I see this as the greatest pride for me. All the different publications and exhibitions gave me this conclusion and have led to me being able to exhibit in Berlin, New York, Barcelona, Porto Alegre and Taiwan and to be published in Communication Art, Juxtapoz, Zupi and Xfunz among others.
FH: I am greatly inspired by artists like Bruce Timm, Arthur de Pins and Erte. Just to name a few of them. I’m inspired by a fine art and entertainment art at the same time. I feel Robert Crumb is as great artist as Gustav Klimt. Basically I love the picture drawings in all expressions. I do not care where they are; comic book or a big gallery. Many times when I start a drawing I feel that I’m drawing to concept art to a movie.
FH: This question is all the time present. But I feel that art changes a lot and before long the people will not make these distinctions. I feel this.
FH: My job was more design packs for the channel. I worked for the channel’s image. I started doing some drawings in Cartoon Network one day and finally I was there for four years. I think my adaptation to the corporate world was very good, since in many cases corporate values and respects creativity.
I felt very respected in my style and my decisions. I felt at this time that I could live from my art for first time. Also I learned a lot about traditional drawing cartoons. It is an industry where there are thousands of great artists contributing to a collective project. There I could see the magical union between art and industry.
FH: All my drawings evoke a very deep and psychoanalytic universe. My world is about images not words. So I decided to draw instead of talk.
FH: I feel that the faces are the expressions of beauty and ugliness. I feel it is somewhat difficult to [judge] what is beauty or ugliness in the face. For now I feel that the body is something that is outside of us. I feel that everything is in the face. All feelings and conflicts are more quickly in the eyes and face.
FH: I am a designer more than illustrator. I am a lover of textures and artistic concepts. I am a lover of abstraction too. I think [of] my works as a composition in which the textures are an important part. Somehow in the textures I feel myself more liberated from the form of the drawing. The abstraction and texture are in the place where I can fly.
FH: I think at this moment the world is in an absolute sense of global terror. I think there are moments in history [where] hopelessness and fear are stronger. I think the world is going through [that] now. Just seeing this makes monsters are attractive. Modern society has shown us that [are current path is not] happiness and is finally taking us to the most abject poverty and war. I think that’s why my monsters are attractive.
FH: I think it’s clear to see part of the surrealism style in my drawings.
My technique and repetitive colors make them something related to pop culture.
Thats why some critics named my art as a Pop Surrealism.
FH: I hope to know more countries and places. And have the opportunity to show the Latin American style to the people who are interested. I would love to be involved [with more] Latin American artists. What I like is to find a Latin American art style without references of the past. Being part of the search of new ground for Latin American art.