The visual elements of this artwork feature a monochromatic color scheme, with predominant beige and white tones. The composition centers around a distorted and collapsed mattress, creating a sense of discomfort and disarray. The subject matter depicts the worn and discarded remnants of a once functional household item, highlighting the temporary nature of domestic comforts. The artistic style and technique appear to be minimalist, emphasizing the raw and unfinished qualities of the materials used. The context of this piece may suggest commentary on the transient and ephemeral nature of material possessions, inviting the viewer to reflect on the impermanence of our domestic environments. ...
Ser Serpas’s practice exists at the blurred intersection of art, poetry and activism. Whether creating sculptures from debris found on the street, working with a hoard of fabric gifted by her friends, making an exhibition out of objects she found at the exhibition site, drawing in public spaces, or writing on train rides, Serpas makes work that complicates the notion of materiality amidst the late-capitalist condition. Created in private, intimate, seemingly improvised moments, the works are never fully -visible to her audiences. The artist’s exhibitions are composed of assemblages of discarded and mistreated objects turned corporeal, becoming what the artist calls ‘assisted readymades’. Subverting Duchamp’s readymades and Rauschenberg’s Combines – the male-dominated history of sculpture – Serpas returns the objects to the streets after her exhibitions, allowing them to revert to their original state and provokes playful questions about the value of the space inside a museum, as opposed to the outside. An activist since high -school, the artist speaks up about structural inequalities, and provides support through facilitated workshops, community aid and artistic inspiration.
Written by Goldsmiths CCA ...
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