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Flier (photographed and printed by Adrian Martinez Chavez) 2024 silver gelatin print

Turning 200, 2024 seashells, insulating foam sealant

1,2,3,4,5, 2024 used water bottles, H2O, acrylic paint, jean, canvas, cotton shirting, twine

Host (w/ Adrian Martinez Chavez), 2024 cowhide, bird's nest, gelatin silver prints, magnets, Equate Creamy Milk Chocolate Meal Replacement Shake, cotton shirting, twine

Press. Release., 2024 synthetic kidney stones (calcium oxalate), papi’s Windows 1.0 notes, 14k gold rope chain

As part of the duo exhibition with Adrian Martinez Chavez “6 Pack Pansy” curated by Daniel Polonsky, Rogue Car Gallery, Brooklyn, NY

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Reading “I am Numberz 4 Wustr” at the Firehouse, Worcester, MA, September 7th.

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Reading "Cellys" and "Lie Flat in Munich" at Grey Matter, New Haven, CT, August 1st.

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Reading "faded need" and "Elegy for an Exclusionary Zone 2.0" at Sparkle Taffy, Hamden, CT June 20th

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Based Kevin (reassurance recording) mono audio recording, directional speaker, gift from Mike, brass wire 15 minutes 8 seconds; on repeat 2024

Link to Audio

Untitled particle board wall decoration, loofah hanging strings, plastic, two tiny bent joints inside two bent glass vials 2024

During the summer of 2022, while undergoing treatment as an inpatient at the Institute of Living, I read "What You Practice is What You Have" by Zen awareness practitioner Cheri Huber. The book’s primary “practice tool” is a recording of “reassurances”, defined as “True statements, made by one’s center… meant to solidify the relationship between the human being (oneself) and the wise, compassionate awareness (the centered self)”. The book goes on to assign “In your own voice, make a recording that reminds you of everything you need to remember so that you can make the choices you know you need to make, from center, to have the life you know is possible for you.”

Although I found solace in the teachings of Huber's book during my recovery, I hesitated to create my own reassurance recording. I grappled with the notion that the ego-self and conditioned mind, as discussed in the book, might render statements centered around "I" or self-improvement debased. This artwork serves as my attempt at composing reassurances, albeit straying from the book's original purpose as a practice tool for a self and instead opting to share words apt for love in its pure form.

Solo presentation ‘Based Kevin’ at the Ely Center of Contemporary Art, New Haven, CT. Curated by Aimée Burg.

Photo documentation by Adrian Martinez Chavez.

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I am going to hit you with this flail

shopping cart, epoxy, chain, retriever 

22" X 21" X 97"

2022

Taper burn marks on my landlord's basement shelf

burned wooden shelf 

28" X 63" X 24"

2023

As part of the group exhibition “The First Show” curated by Brittni Ann Harvey & Harry Gould Harvey IV, FRMOCA, Fall River, MA

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Ofrenda

two tiny bent joints inside two bent glass vials, beaded chains, paper, pencil, marker, packing tape, used plastic bottles, fabric, too-small rejected dog casket, wooden rocking cradle

29 x 24 x 19"

2023

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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Nest

two journals completed as an in-patient at WS3, Little Debbie Oatmeal Creme Pies box, U.S. currency confetti, plastic, weedbox, coffee stirrer, microwave metal casing, hardware

10 x 22 x 12"

2023

The right journal reads the following: "A man came into WS3 with two broken hands, inside casts. He needed the nurses to follow him around and help him use to clicker, make phone calls, use the restroom, bathe, scratch, groom, his hands casts were formed like this (arrow pointing downwards)"

As part of the solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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Untitled

laser-printed QR code that links to a .jpeg, packing tape

4 x 4"

2023

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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Dipdick

epoxy, polyester rope, cardboard

14 x 20 x 5"

2023

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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Solace

rocks in sink

3 x 4 x 3"

2023

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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THATNIGHTINEVEREVENGLANCEDATIT’SFACEA-SIGAVEITHEADCAUSEITHOUGHTITWOULDHITME

my bedframe

38 x 10 x 2"

2023

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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Untitled

chest of drawers mirror, waiting room chair arm cushion, activated carbon dog training pad, 14k gold chain, plastic, ink, automatic air freshener fragment, acrylic paint, yellow glass straw, plastic lid, hardware

39 x 42 x 13"

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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Papi

ink and graphite on paper, magnets

2023

11 x 14"

As part of my solo exhibition “Poles” curated by Damien Ding

D. D. D. D., New York, NY

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3 Cup Scam fabric, Darkrai Pokémon card covered in soot salvaged from a house fire 2023

APARTMENT VIDEO 15 (w/ subtitles) single channel SD video, 16:9, color, sound, looped 3 minutes, 27 seconds 2020

APARTMENT VIDEO 1 single channel SD video, 16:9, color, sound, looped 5 minutes, 54 seconds 2020

Flail official Macbook Pro charger, bootleg Macbook Pro charger, fishing hooks 2021

As part of the group exhibition “The Trick Behind the Multiple Trick Ponies” curated by Inés Arango-Guinque, MAYFIELD, Forest Park, IL

Photo documentation by Fernando Saldivia.

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D. D. D. D. is pleased to present Poles, a solo exhibition by Kevin Hernández Rosa, featuring an artwork by their brother Oscar “OZIE OZ 194” Diaz.

To look at ‘em looking away.

Poles emerged from a series of fragmented, nebulous, object-based experiments that were created by Hernández Rosa as a means of working through their feelings on a series of unrelated events; namely, the passing of their childhood pet, being diagnosed with other-specified personality disorder, being exposed to Michael Levin’s work on multiscale cognitive competency on their journey towards believing in Love, having anonymous sex with a person whose face they never perceived, being mesmerized by found images of multiple streams of urine coalescing, exclusively listening to Thebe Kgositsile’s thinnest vocal performance for a year straight, stealing the armrest cushion from a waiting room chair from a local university, and finding impalement hazards everywhere they look in their hometown.

Last time (OMITTED) (OMITTED) (OMITTED) (OMITTED), (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED), all their household items seemed to emanate evil. They cited this to themself as being (OMITTED) for (OMITTED) (OMITTED) and (OMITTED) (OMITTED). Oh, and there was the (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED) (OMITTED) as well. One thing they did notice (OMITTED) (OMITTED) (OMITTED), they laughed at everything internal and external that arose, and they were desperately trying to stop their face from expressing this joy so as to avoid hailing anyone’s attention. It's like they had some deep-rooted fear (or guilt?) of being seen.

Belief is synonymous with creation. The only worldview Hernández Rosa can confidently stand on is that their art is simply art—a continuation of the ancient technology established by Neanderthals, creating limitless yet differentiated potential meaning through actualized forms and concepts, harmonized in the stimulation of the senses.

To share with others the expanding brainstorm’s most naked state.

>> Link to site.