Interview with artist Edgar Serran for @floorrmagazine

“I typically choose raw materials for their political content, by which I mean the animal byproducts that are the building blocks of something known as dependency theory, which states that raw materials from underdeveloped countries are exported to wealthier nations/empires and enrich the latter at the expense of the former. I also attempt to evade the restrictions and the rules of painting, by using various commonplace materials to remind the viewer that painting is just a symbolic surface, which tries to reveal its meanings. I think that my work takes place, in its multiple forms, around a questioning of rhetoric and ethics of this and other forms of mediation. My desire is that it should erase frontiers, disrupt genres, and dissolve obstacles. I want my work to trigger associations and thoughts akin to those of the characters of Rayuela, a novel by Julio Cortázar:

‘This is what I think is reality’, thought Oliveira, fondling the plank and supporting himself on it. “This glass cabinet arranged, illuminated by 50 or 60 centuries of hands, imaginations, compromises, pacts, secret freedoms… Expecting that one is the center’, though Oliveira supporting himself more comfortably on the plank. ‘But it is immeasurably idiotic. A center so illusory as to expect to be ubiquitous. There is no center; there is a kind of continuous confluence, an undulation of matter. During the night I am an immobile body, and on the other side of the city a roll of paper is being transformed into the daily newspaper, and at 8:40 am I will leave the house, and at 8:20 am the newspaper will have arrived at the kiosk on the corner, and at 8:45 am my hand and the newspaper will be united and begin to move together in the air, at a meter from the ground in the path of the tram…’

The construction of that ‘figure’—as Cortázar would have called it—resists the perspectival unity of the image and brings about a reformulation of the person.”

Discover the work of artist Edgar Serran in an interview I did for Floor Magazine. Read the full interview here;

Top image: Candid Camera 2016 ©Edgar Serrano

This entry was published on July 17, 2018 at 12:30 pm. It’s filed under Exploring Process and tagged , , , , , , , , , . Bookmark the permalink. Follow any comments here with the RSS feed for this post.

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