Fernanz: The Self-Taught Artist Behind Jaloe's Boldest Abstracts

Soft blues, pinks, and greens open into something airy in #1029, one of the newest paintings to arrive at Jaloe. Fluorescent accents cut through in sudden, energetic splashes. It is one of Fernanz's lightest compositions yet, spontaneous in its surface, disciplined in its structure, each gesture given room to breathe.

Fernanz numbers his canvases instead of naming them: #1020, #1022, #1029, #994, a running count that by now stretches into four figures. There is no romance in the system, only a plain record of how much has been made, and it reads like a signature all the same.

Self-Taught, Trained in Alicante

Fernanz started painting young, and never really stopped. He is self-taught, though the word undersells how deliberate his process has become: he still researches, tests, and revises in the studio. Early in his career, he trained alongside some of Alicante's best art teachers, and that discipline still shows in a hand that rarely hesitates.

A Number for Every Canvas

Some entries in that running count stay close to a single idea. #973 reduces the palette to three broad bands of color: a subdued blue, a soft green, and a warm terracotta, laid side by side with almost no incident between them. #966 goes further still, distilling a canvas down to five brushstrokes that move from a bright yellow through orange and pink into a settled blue, most of the surface left as open white ground.

Others build outward instead of inward. #1020 layers pinks, yellows, greens, and blues over darker passages until the canvas reads as a dense, shifting field. #994 stacks six colors, mint, acid yellow, blush, orange, red, green, one over another until each band is thick enough to cast a shadow of its own.

Color, Layered

His medium is mixed: oils, acrylics, inks, gouache, and pencil, often combined on a single canvas, built up in layers, finished matte to keep the surface from turning glossy.

The palette is where Fernanz is most recognizable: bold and unblended, each color left to assert itself. #1022 moves electric blues, oranges, greens, and pinks across a soft neutral ground, its overlapping marks building a strong sense of motion. Set beside #973 or #966, it makes the range clear: the same hand, working at both ends of restraint and excess.

Small Studies, Large Statements

The scale swings as widely as the palette. #994 measures a modest sixty-four by sixty-four centimeters, made for a shelf or a narrow wall. #1029 and #1022 sit in the middle of the range, both close to a meter and a half on their longest side. At the far end, canvases climb past one hundred and ninety centimeters, large enough to anchor a room on their own. Collectors at Jaloe have used the smaller pieces to build out a gallery wall and the largest as a single, standalone statement, and Fernanz's catalog is built to support either approach.

With Jaloe Since 2019

Fernanz has shown with Jaloe since 2019, and the gallery now holds one of the deepest collections of his artwork anywhere: more than two dozen pieces, from small studies to canvases close to two meters across. New paintings keep arriving, and collectors keep coming back for them.

Every original leaves signed, with its certificate of authenticity, the same as the rest of the collection.

See Fernanz's Artwork at Jaloe

If his palette caught your eye, browse the current Fernanz collection at the gallery, or get in touch with our team. We are glad to help you find the piece that fits your space.