Liz Kueneke , Chicago-Barcelona.Artist, Commissioner, and Professor of Art.Barcelona , September 2005

I could write pages in which I locate the artist in the context of the history of the art, but believe that with a little observation, it is clear that the influences of Patxi Fernandez are Van Gogh, Picasso, Boccioni, and other impressionists.

Then, I prefer to speak of because its representational images and type-impressionists they are different that all the others, and in a word, are “vitality.” It is the first word about which I think when I contemplate works of Patxi and to the same artist.

By all means an artist and his work cannot be separated, and in the case of Patxi, its life, its interests, their artistic process and the end item so they are tied. Its small full floor of colourful in the old full district of sailors in Barcelona , its enthusiasm, its strong interest in all the cultures, and their power process and intuitive of creation is all visible ones in their works. The medium that Patxi chooses is the pie because they leave to the speed and to be spontaneous him that she requires. He never makes sketches nor flock preliminary things. While he listens to music high volume, he dances, and soon he draws, he dances, and he draws.

This movement and rate are evident in his “impulsive and colourful strokes”, and the rate of contemporary rock and rap give to works an energy of now, that them older modernist work difference. Any emotion and vision that music causes in him are what appears in the paper.

The similarity to its photographic models concerns less to the artist than to transmit that he is real at the moment. The particularly interesting encounter that Patxi unconsciously gives the characteristics of its woman to some pictures, like the Gypsy in this series of works. Because the artist chooses figurative drawings instead of abstract, if he works so very impulsively? In his words, the observer (the person who this observing) is important for him, and although each observer will interpret his works of different form, he loves that the observer between in the work and understands the message bases. In the case of this series of works, several ethnic groups and cultures dominate.

The passion of Patxi by the plurality of cultures was evident the sooner I raised the several narrow stairs and I entered its floor where I saw two tens of hats worldwide and bookcases with the magazines of yellow back of National Geographic. Everything of the artist is reflected in its work, and vice versa. The fact that Patxi never has had formal education of art, but that has been educated itself, shows its passion by the art, and also it means that its work is pure vision, and made without the social constructions and sense of expectancy of the world of the art, nor the market of the art. There is vitality in the then artist and in his work, and this serious one of works demonstrates well to its energy and passion.

Pablo Lanuza. Painter, Critic and Professor of Arts. Seville, September 2005.

The essential motivation in the art is a state of permanent conflict. This knows to Patxi Fernandez to it in the speech of its creative adventure very well. Patxi, in perpetual evolution on itself, part time and time again from ground zero.

Their works on the human figure, in special the pictures are full of spots in a chaos, moved away of the photographic thing, but that solves with apparent facility with a loaded gestualismo of force that draws rictus peculiar of its revealing personalities. An involuntary memory that it recovers the intimate atmosphere, without time nor space appears then. With the same gestalt and colourist force it constructs its landscaping scenes structuring the painting where abstraction and figuration are confused. What is real in the work of Patxi Fernandez? Without a doubt the shades and reflections that produce their fantasies. And there are fantasies without sensations nor no judgments without fantasies.

The impulse to exist takes to Patxi to interrogate itself on the foundations, on its force and veracity, the capacity to blow life. And always, returning one and again to its eternal permanent conflict.