The city today has been transformed into an overwhelming Malevich. Its mechanical and perfect rational fabric, as a strategy of order that regulates even our most unexpected step, unleashes the wildest climate of hostility made up of a perfect modern normality. Thus, as from a time up to now, urban plastic manifestations appear in a totally unconscious way that mostly, in the form of scribbles, accuse barbarism and seek to overlap the anguish of a crushing black square on a white background. Hopes and disappointments are evident on the heavy Malevich as meaningless expressions of remote emotion. It is that same urban nonsense that gives meaning to Isabel Serra's paintings, to configure schematic and rapid representations of symbols of the modern city and scratch them, not on a wall or in a cabin, but on the same pristine linens on which Malevich's squares rested. Serra's wink against the old painter plays with the tradition of the plastic arts. Thus, we see various technical possibilities of oil, engravings and pencil that give life to infinite narratives and scribbled characters that manifest, in the form of art, a silent and disturbing disillusionment of the perfect habitability aroused by the squared modern coexistence.

Javier Rodriguez Pino

Plastic Artist and Professor of Fine Arts at the Metropolitan University of Educational Sciences, Santiago de Chile.