Brief approach to Isabel Serra's work

 

It is very important for an artist to his/her first step in the world of exhibitions, that his/her presence necessary in the hard Art channels. Some artist, some, few, reach this point with such a high baggage, as is the case of Isabel Serra in this exhibition initiative, whose work possesses the freshness of the newborn baby, and at the same time, the depth of maturity in its conceptual proposal.

 

Her weighty, strong and delicate work has an intense organic expressivity regarding the Essential, but it is, in fact, tidy and chaotic (both sides of the same coin simultaneously), it is like a city, subject of her investigation and effigy, in the work we can contemplate in this exhibit. A whole in its multidimensional vision in the application of the temporal sense in her compositions, in the whites, in the void, in the movement ... It is all about life rhythms in this assembly, in its order or in cosmos, like a way of transform the temporary succession of events.

 

   Her work suggests moments in life, made out resonances from the past, in the eternal present, as well as existing in the future, in a similar way as in the T. . S Elliot's Four Quartets, or Husserl's lessons on the intimate Phänomenologie des inneren Zeitbewusstseins,  that enlighten these movements of protective retention, on which some aspects of contemporaneous creation are inspired.

 

   We go round this exhibition like vital fluids do through a body. Isabel invites us to dive into this deep and enriching being, Heraclitus said for ever more.

 

Here, in her "very river", like in real life or better, like in a non-symphony (I remember John Cage), deeds swimming upstream take place, peculiar denials of non-place, for instance, of the presence, of the noise or silence. Honesty and a certain dose of intelligent humor, sensitivity regarding little details, which she will make larger without meaning it, perhaps like in some kind of evolving process that "without intention for producing perfection, generates interest" (Rem Koolhaas dixit).

 

But there is more interest here, it is something vibrant, the "silent resonance of time" (Cage), that moves through a complete nerve net and entropic places, spaces or landscapes, subtle but also wide, luminous instants, with some greatness, full of emotional beauty.

 

Jose Maria Yturralde

Painter, artist and professor of painting at the Faculty of Fine Arts of the Polytechnic University of Valencia.