Jordi
Serra Moragas (1942), son of Josep Serra Abella, represents
the third generation of the family. His profile as an
innovator is complex and rich: a disciple of his
father and of his uncle Rafael Solanic, besides being
a ceramist he is also a painter and sketcher. His training
is also very varied, a training which complements strictly
technical
aspects with artistic ones. Besides the training in the
family studio and having studied art, Jordi Serra, is
a technical chemical engineer; which means to say that
he is specially equipped to deal with matters referring
to the baking |
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of
pigments at high temperatures. With this technical capacity
one can understand that Jordi Serra Moragas has achieved
unthinkable results with his dominance of metallic reflections:
iridescent effects, transparencies, the stumping (diffusion)
of colours, which are the most important visual characteristics
of the technique of metal reflections, these are amplified
to their limits. Jordi Serra appears to be a type of
demiurge, capable of transforming and turning around
the notion of pigment to which we are all used to. (follow>>)
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At
an artistic level, and in a succession of continuity,
he boosts and confirms the concept that has defined
the Serra family up till now: the art of ceramics. Apart
from collaborating with artists, he vindicates decoration
in ceramics and he vindicates it by incorporating new
motifs with the new effects of metallic reflections.
What is interesting to point out, is that he incorporates
a new decorative model which, be it abstract, or imaginative,
harmonises with contemporary evens. The revival of decoration
,with all the experience accumulated by the Serras,
and return to interpret the tradition with a contemporary
sensitivity gained from modernism, is the contribution
that Jordi Serra Moragas has made.
Jordi
Serra is essentially a ceramist, but one cannot imagine
his immense talents as a painter and sketcher. There
is a characteristic which unites and gives sense to
this expressive diversity it is the line. Lately
Jordi Serra has cultivated a theme and some imaginative
motifs in which the line acts as protagonist.
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An extremely sensual line, which vaguely reminds us
of Picasso and the bonheur de vivre by Matisse,
which manifests itself as crystalline and transparent,
aerial and weightless. A spontaneous line which springs
up as if by natural and sincere impulse leaving no possibility
to correct or rectify it. An expression which is a line,
and a line which is more than just an expression, combine
the two and the result reveals the interior artistic
impulse.
What
does this line contribute to ceramics? If, Jordi Serra
works with ceramics, it is because ceramics says things
which no one else can transmit, ceramics is the subject
of the line in the widest sense of the term; it is the
essence of the figure, it is the life of the line, that
which offers colour and substance. Jordi Serra, a specialist
in metallic reflections, leads us to think, that today
as yesterday, ceramics just as art continue to be a
type of mirror of recollections.
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