SeronesUntitled (Diptych), from the series Neo-Posturas, 2016
Mixed media on canvas, 200 x 100 cm. each one
The New Stands Entail Prejudice
Serones surprised everyone when in 2015 publicly revealed their series Hospederos (Hosts) on the campus of the art gallery La Acacia, a number of paintings that peeked under the gender landscape with an air of renewal and skepticism. At that time the creative duo barely showed his first exhibition raids and were already beginning to collect resonance. Today, still very young, you can ensure that they have managed to build a discourse visually rich and rhetorically founded.
Hospederos marked without a doubt the beginning, the first fruits of what would come later, when without fear of pastiche and recycling, Serones started breaking traditional conceptions of landscape and giving it new discernments. Thus arose new series that without dynamiting the stylistic identity of the group, presented new creative paths. Neo-Posturas (Neo-Postures) is their newest production, which, while maintaining fidelity to large formats, mixed techniques achieved from industrial pigments and the use of textures and crackled, this time appears riddled with metaphors and references that bring the viewer to rethink his reality. It is a meditative painting, manipulated by the predominance of gray and silver, repelling on one hand and seducing on the other. They could be brownfield sites, harmless to some, but who walks into the immensity of the fillings, the details in the acrylic, the smoky dust, will discover a universe of interpretations, also suitable for formal experimentation and aesthetic delight.
A diptych stands out in Neo-Posturas, two pieces that are twinned to recreate a space that becomes surreal at first glance, but then translates into a deconstructive action of an existing environment. It could be a common space that has been transfigured and brought to a minimum, until it had become almost abstract.
The synthesis Serones is capable of, combined with the mixed brushstrokes, impasto and crackle, could ascribe the duo to the category of abstract painters. However, critics have preferred calling them landscapers. Maybe the label of abstract landscapers suits them better, as their aimed scenarios glimpse at the essence of a landscape translated into symbol, a landscape so real that could be the materialization of mental musings that come from their own craftsmen. In any case, there is no need to classify everything, for we risk imposing limits to creation. Their name is Serones and they pretend, more than to show truths, to build a place of reflection, to make us accomplices in their artistic process and leave the door open to understanding. That is their neo-posture.