Ser Serpas was born in 1995 in Los Angeles, California and lives and works in New York. Primarily interested in death and legacy, her work is preoccupied with its own urgency in the face of fossilization. At the present, she's taken to sequestering the mundane.
Serpas' work takes the form of unstable assemblages of found objects in which painting, sculpture, drawing, and text bring together personal memories and traces of everyday life. She mashes bits of her life, both real and imagined, into anti portraits. Some of which she deems fit to share within the context of exhibitions and performances.
Precarious assemblages of disparate objects found in the street, which bear the mark of their uses, constitute her most well known series to date. More recently, she has taken to using photos shot on her iPhone during college as source material for intimate views on unstretched canvas. wood panel, and paper.
The unique way she reframes the body and tension in both her sculptural and text based installations, which distort components of our shared architecture, carries into her atypically cropped portions of stolen archetypical intimacy.
*Artistic Process and Mediums (00:01:39 - 00:01:57):
*Reframing the Body and Tension (00:01:57 - 00:02:14):
*Her Exhibition "Monakhos" and Its Background (00:02:22 - 00:04:25):
*Discussion of the Artwork "The Collector" (00:07:30 - 00:08:45):
*Discussion on Serpas's Painting Technique (00:08:45 - 00:10:28):
*Finesse and Intentionality (00:13:27 - 00:14:28):
Discussion on the finesse in Serpas's process, using unconventional methods to create imprints and unique textures. Emphasis on the intentional nature of her approach, even in seemingly wasteful actions.
*Confidence in Decision-Making (00:15:51 - 00:16:25):
Ajay Kurian highlights the confidence in Serpas's decision-making and her ability to adapt to unexpected outcomes in her art.
*Continuation of AI-Informed Art (00:17:46 - 00:19:00):
Serpas mentions using AI to develop bodies for the Monaco's show and describes the production of impossibly contortioned bodies with multiple limbs.
*Installation at the Hammer Museum for Made in L.A. (00:19:01 - 00:23:00):
*Integration of Contradictions and Working Processes (00:25:37 - 00:30:38):
Ajay Kurian explores how Serpas integrates contradictions in her work, such as marrying different media. Serpas shares her experience in college, where she juggled multiple studio classes, mixing media to meet deadlines.
*Use of Ruined Objects and Psychological Ruin (00:30:38 - 00:32:50):
*Parental Influence on Relationship with Objects (00:33:14 - 00:33:51):
Artistic Practice and Personal History (00:35:00 - 00:36:32):
The conversation explores how personal experiences, such as childhood and family dynamics, influence artistic practice. There's a discussion on the tension between pantomiming objects for the state and the personal connection to collected items, referred to as “trash."
Horror, Unreason, and Art (00:48:20 - 00:49:00):
The interview delves into the themes of horror and unreason in art, contrasting them with science fiction. The discussion touches on the use of horror as a means of reckoning and the potential discomfort it can evoke in the audience.
Art as Control Over Labor and Aesthetic Choices (00:55:00 - 00:56:21): Ser Serpas expresses that art allows for control over the expectations of labor and serves as a space where one can shape their life. The discussion touches on the importance of aesthetic choices and the ability to influence one's surroundings through artistic practice.
Learn more about Ser Serpas' work at:
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