The Chase (HACER)

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Hacer The Chase 1

Hacer The Chase 3

The Chase


September 2016 - December 2017

“The Chase” is a series of four, origami-inspired, powder coated, steel sculptures depicting two scenes that dramatize survival. The inciting incident begins on Santa Monica Boulevard at Doheny Drive as COYOTE, STALKING (176" L X 78" W X 97.5" H) faces East with legs engaged and head dropped in a tense predatory pose as she states into the distance at her prey, RABBIT, SITTING (8' L X 10' W X 125" H) unaware as he peruses the landscape for a morsel to quell his hunger.

The next pair of sculptures, COYOTE, RUNNING (13' 6" L X 6' W X 76" H) banks a dramatic turn to gain on RABBIT, RUNNING (80" L X 92" W X 105" H), thrusting forward with legs outstretched. An implied but non-depicted moment ensues when the rabbit, having seen the eyes of his hunter, leaps toward escape. Unlike most dramatizations, the series comes to an open-ended close like the struggle itself, without a victor. Like most of Hacer’s work, life is the equalizer, an antagonist who rivals both characters without discretion.

Whether the viewer relates to the coyote or to the rabbit, the characters are meant to be viewed through a lens of commonality rather than difference as they embody the opposing yet congruent ends of starvation where each, trying to survive, fights to meet their own needs through shared, limited resources.

Crate [Single] 5' cubed

Crate [Triple] 5' cubed + 2.5' cubed + 1.25' cubed = 5' L x 5' W x 8.75' H

Crate Top For Rabbit, Running 5' L X 5' W X 6" H 

About the Artist:

HACER [b. 1976]

Renowned for his bold, origami-inspired, metal sculptures that explore psychologically complex themes; Hacer’s introduction to the nostalgic art form began at age seven when a volunteer read, “Sadako and the Thousand Paper Cranes” by Eleanor Coerr. His reductive reinvention of the aesthetic evolved technically over decades along with its conceptual counterpart, an amalgamation of exposure to Alexander Calder’s bold, playful work and [after recruitment by renown art fabricator, Peter Carlson] first-hand knowledge of the imaginative problem solving required to achieve Jeff Koons’ ambition, the resolute dedication demanded by Ellsworth Kelly’s utter commitment to minimalism and the patient focus required to achieve John McCracken’s steadfast attention to detail.

The perfection of Hacer’s technique in combination with monumental vision has led to extensive exhibition throughout the United States in galleries, art centers, museums and international art fairs with group and solo exhibitions in San Francisco, Los Angeles, Laguna, Detroit, Grand Rapids, San Antonio, Dallas and New Mexico.  In 2014 Hacer was selected by the Los Angeles County Arts Commission for its coveted “Pre-qualified List of Artists” for public sculpture.

His permanent public sculpture can be viewed at Autry National Center Southwest Museum, Los Angeles Trade Technical College and University Hospital Case Medical Center Sculpture Garden in Cincinnati, OH.

Hacer’s work has been published in Art Scene, Artillery Magazine, Public Art Review Magazine, Riviera Magazine, Mountain Living, Bunkerhill Magazine and Los Angeles Times. Broadcasts include: Huell Howser’s California Gold, CBS2/KCAL 9, and SoCal News.

Artist’s statement:

“Born to teenage, Mexican-American gang members; I was abandoned at three months old and placed in a series of foster homes. I was lost in a lifestyle of violence/drug abuse, which I escaped by creating a playful world that evolved from origami cranes. In time my escape escaped me and I became the lifestyle with one reach: death. In its grasp, I found Calder’s massive, red-orange, Los Angeles sculpture, “The Four Arches”. He/it gave me a new reach: life. I decided I am not what happened to me, I am my response.

I broke from the violence of my birth name “Gomez-Martinez” by choosing “Hacer” [Spanish verb: “To make”] and became a sculptor who designs/builds large-scale, metal, origami-inspired forms in bold, solid colors. It is the choice to be, as Calder and those like him, my part in a creative process that is bigger than me individually but impossible without the “me’s” collectively.

As I learn to shape my work, afraid, I move forward through the familiar unknown and learn to re-shape myself, lessening the past’s grip. Like the dynamic, formative process hidden by my seemingly simple designs; my work’s simple existence aims to elicit a dynamic response about the viewer’s relationship to their formative process: childhood. Through this interaction, we [like I with Calder] can all begin anew.”


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For questions, contact Rebecca Ehemann, Public Art Coordinator at (323) 848-6846 or For people who are deaf or hard of hearing, please call, TTY: (323) 848-6496. To learn more information about the City of West Hollywood and its arts programs visit