Luca Serra, in his never-ending search of a dialectic position with painting, who implies as relation between the idea and the final outcome, the return to a concrete experience of alchemic development, transforming the abstraction of the image in the event. As he explains: “I do not want the painting to be exactly that what I am capable of doing or giving, but I am fascinated by the event, by what occurs. My interest is that the result is something that I have not executed, that I have not been able to create, but that it is a real happening of which I was an observer, the first observer of my painting”.
Starting from the idea that the artistic invention in reality is nothing more than a transformation, Serra assembles the materials of which his works consist, trusting a kind of organic architecture and, in order to create a painting that is no longer just an aesthetical composition but that is converted into history, he experiments with procedures of metabolic transformation that change the essence of the work.
Concrete, tar, pigments, powders and paint are the elements that when reacting between one another, transform, adopt the shape of the project of an image to leave onto the canvas that, released from its original support, forms the final creation of the artwork, different in its essence than it was at the start.
In this way the painting, that the artist subjects to a sculptural technique, the process of the cast, becomes not the invention and the representation of an image, but the objective that reveals the relation that exists between the causes that have produced it, the final result of a series of events that have provoked it but that took place beyond his control and his intentions.
