Fernandez’s work gravitates more towards the chaotic or mechanistic than to the geometric or meditative. With Cylinders in Grayscale Over White (2011), flowers blooming around the edges of the frame are as significant to the overall meaning of the work as industrial parts like levers and handles. With irony, Fernandez refers to an industrial, collage-styled piece as Broken Down and Simplified (2014). A swirling cosmos of acrylic, spray paint, and pastel conspire to form an image that is anything but broken down, and far from simplified. Faceless Self Portrait (2014) stands out from the other works as more representational, less abstract, and with a rich background print that recalls newspapers and architectural blueprints—it’s not simple, but there is less competing imagery.