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In 1959, amid revolutionary upheaval in Cuba, Fernández received a painting scholarship
and left for Paris. His circle in Paris included Matta, Miró,
and Max Ernst.
Working in the wake of late Surrealism, he aligned with the movement’s more
decadent wing. He exhibited alongside figures such as Picabia, Tanguy, and Dalí,
and Hans Bellmer. In the City of Light, Fernández’s work visually distanced itself from
the Caribbean. The artist abandoned expressionism in favor for a surrealism rich
in psychological and erotic elements.
His palette cooled to beige and bone.
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