This monochromatic artwork depicts a towering, angular structure against a hazy, indistinct background. The piece is composed of intersecting lines, creating a grid-like, geometric framework that dominates the composition. The use of stark black-and-white tones and the absence of any recognizable elements or figures lend the artwork a minimalist, almost industrial aesthetic. The distinctive technique suggests an architectural or engineering-inspired approach, potentially highlighting the artist's interest in exploring themes of structure, form, and the relationship between the built and natural 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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