Leaving no surface uncovered, Fernandez hangs his multimedia works over paintings that he’s applied directly to the wall. The individual images flow together—connected by a cast of lines and shapes that repeat across the series—yet each painting sports its own universe of imaginary flora and fauna. In Plankton (2015), a portrait of a long-haired woman, the artist uses mylar, embroidery, and paint to create an underwater, sea-like environment for his subject. The sitter in 310E44R822 (2015) is almost entirely covered in floating amoebic creatures and spiraling discs. Close examination reveals the sitter’s eyes and teeth peeking through the jumble of forms, at once playfully and piercingly.