cerāmica de reflexos metāl·lics de Jordi Serra Moragas

 

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

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>>)

   

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.

 

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.

Biographical issues
1860

He incorporates in Ceràmiques Serra stimulating the research about metallic reflections and the concept of artistic ceramics .

1965

He obtains the degree of Chemical Engineer, training that complements with an autodidact trajectory and with apprenticeship in the familiar setting: his father, Josep Serra Abella and his uncle, Rafael Solanic. His training is complemented by the example of Ramon Rogent that is one of his artistic references.

1977

Antologic exhibition dedicated to the three generations of ceramists Serra in Palau de la Virreina (Barcelona).

1978

Although we can mention previous exhibitions, the most importants are wich he realizes together with his father at Dau al Set Gallery (Barcelona)and at Biosca Gallery (Madrid) wich had an special repercussion on mass media.

1984

First exhibition in Germany (put into effect with his father): Düsseldorf, EP-Galerie. In 1991: first exhibition in Japan. In 1993: first exhibition in France etc.

1985

President of l'AAFAD (Association of Artists and craftmen of FAD), charge that he will manage until 1987.

 

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