Entre los árboles is an invitation. One might think the path is merely the guiding thread of a walk through the woods, but here it’s about meeting the artist at his level, being where his gaze rests, where he chooses to pause. It’s about observing surreptitiously, almost on the lookout. Immersing oneself in the gaze of another. We don’t see where we’re walking, we observe. A suspended time reveals itself in the created space.

What to do if we’ve lost our way? Turn back, or continue straight ahead and risk getting lost among the indistinct forms. We can also retrace our steps and change our perspective. Resuming our path where we left it, step by step in the initial direction, breathing new life into it, the breath we were missing.

Here, Gastón Herrera chooses to mislead us. He returns to his vibrant blues, where forms intertwine and merge until they reach a phantasmagorical abstraction. Forms emerge in the hollows of branches and shadows. At first, we feel like we’re on familiar ground. But there is also the line. The black ink. Simple, vibrant, frank, uncompromising. The washes give way to shadow and daylight, revealing form. And the same attraction occurs. We lose ourselves again among the lines. Intense black coexists with diffused blue. A balance is found between distance and proximity, detail and the overall vision.

Three years after his exhibition Passage, Gastón Herrera returns to France, to those forests and fields where inspiration first guided him. He offers us an immersive experience in those places he first explored and then dreamed of.

This return leads to a deeper immersion in the heart of his world. Organic nature reclaims its place on paper and canvas. Isolated cabins, poised between abandonment and inhabited areas, invite observation.

Entre los árboles is a pathless stroll, a journey without end, where one willingly loses oneself. We are offered this suspended time; our gaze is lost in the rediscovered line.

Josepha Blanchet
April 2026