Mar Hernández’s research starts from photo shots taken in places which are disused, left in a stand-by mode as if they were motionless cases of a suspended moment, and is then completed by overlapping to the pictures layers of an alternate memory. Mar’s aesthetics is all about retrieving identity; each place is considered as an exposable witness of transformations, both historical and human, that ends up preserving a sign of what it has been happening inside it. As if she was doing a genealogical inquiry, Mar gives back life to empty spaces through etched engraving and drawing, bringing out real or imaginary furniture in an overlap of layers which relentlessly show the flow of time. Mar Hernández develops a personal contemporary archaeology, where reality lays upon realism: Victorian parlours deployed into old plants alternated with domestic landscapes growing among the ruins. These hypothetical places are like theatre wings in a constant equilibrium between the will to preserve their origins and the temptation to create new traces. Mar Hernández’s research doesn’t stop to the physical limit imposed by the artwork but transcend into the physical space by overcoming the two-dimensionality of paintings and occupying spaces. Using graphite the artist projects inside the rooms, both on walls and floors, the shadows of what it was and what it might have been, creating landscapes physically empty and, simultaneously, obviously filled.