Cuban-American artist Hernan Bas has spent the past year immersed in the unique atmosphere of Venice, where he has been creating a new body of work focused on the city's ubiquitous tourist population. Bas, known for his distinctive figurative paintings, has drawn inspiration from the transient visitors, a subject he approaches with an acute awareness of the ironies inherent in his own position as a temporary resident.
Bas, originally from Miami, a city deeply familiar with mass tourism, has noted his own inclination towards the city, admitting that he began exploring Venetian property prices just a week into his stay. This personal experience of attraction and potential integration into a tourist-dominated environment appears to inform his artistic perspective, offering a nuanced view of those who visit and briefly inhabit such iconic locations.
A recurring motif in Bas's oeuvre is his depiction of young white men, often imbued with a sense of melancholic beauty and vulnerability. The artist has openly stated his preference for painting "the kind of people I’m attracted to," citing literary inspirations such as J.D. Salinger's Holden Caulfield as an influence on his idealised subjects. This personal connection to his muses adds a layer of intimacy and psychological depth to his portraits.
However, despite the aesthetic appeal of his subjects, Bas's work frequently carries a 'sinister edge'. This unsettling quality is a hallmark of his artistic style, challenging viewers to look beyond superficial beauty and confront underlying tensions or psychological complexities. His Venetian portraits are expected to continue this tradition, suggesting that even in the picturesque settings of Venice, there can be an undercurrent of disquiet or hidden narratives within the seemingly innocent figures he captures.
The artist's decision to base himself in Venice for this period reflects a deliberate engagement with a city famed for its beauty, history, and its contemporary struggles with over-tourism. By focusing on the visitors, Bas not only documents a specific demographic but also subtly comments on the nature of observation, the gaze of the artist, and the transient impact of human presence on historic urban landscapes.