Nadia Hernández is a Venezuelan-born, Melbourne-based multidisciplinary artist whose practice critically engages with themes of memory, memorialisation, identity, and place within a socio-political context. Drawing upon her lived experience as a woman situated within and beyond the Venezuelan diaspora, Hernández’s work challenges dominant narratives surrounding migration, exile, and displacement. Her practice spans textiles, painting, sculpture, sound, installation, and collaborative methods, forming a distinct visual and conceptual language that speaks to the layered complexity of diasporic experience.

Central to Hernández’s approach is a commitment to collaboration and community engagement. She creates works that are polyphonic in nature, drawing from song, poetry, conversation, and storytelling, where family, friends, and local Venezuelan communities often become active participants. These shared processes unfold across multiple registers: visual form, collective learning, dialogue, and archival research. Hernández views art-making as a space of connection, where personal histories, political realities, and cultural memory are given form through many voices.

Her sustained and critically engaged practice is evidenced by significant achievements, including her selection for the 2024 Fountainhead Residency in Miami, a major public commission for the Oslo Freedom Forum in partnership with the Human Rights Foundation, and finalist positions for the Ramsay Art Prize (2023) and the Sir John Sulman Prize (2023, 2024). Her work has been presented in major exhibitions including Para verte mejor, en todo tiempo, Art Gallery of New South Wales (2026); TarraWarra Biennial 2025: We Are Eagles, TarraWarra Museum of Art (2025), Encounters, Art Basel Hong Kong (2025) and Like A Wheel That Turns: The 2022 Macfarlane Commissions, Australian Centre for Contemporary Art (2022).