Genoveva Serra - art


     The catalogue 'Parameters' is supposed to mark out synoptically the limits of the whole of the artworks with the aid of the most original of its drawings, basing on the ten years of working that have passed yet, in concrete terms the time between the second third of the year 1998 as its commencement up to and including the first third of the year 2008.

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     The abstract shown here, containing already the first part of 2009, wants to convey an overall view of the more than seven hundred drawings realized so far, to enable their understanding by means of explication and interpretation of the elements to be found and to demonstrate their evolution, apart from drawing the attention to the introduction of new details.

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     Initially there will be a closer contemplation of the used elements, building up a list of them at the same time, with the object of forming groups with reference to the approached subject matters.
     Afterwards there can be examined the necessary steps to take, in order to materialize a certain drawing, from the very first lines up to its completion.
     Finally this presentation concentrates on showing the importance of individual colouring of the elements and drawn volumes including experimental objects for contemplation, besides pointing out the evolution and changing, figures are subjected to, basing on the yet known elements, to prove their alteration by means of fusion, transmutation etc.

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     The overlook will be completed by the reproduction of details of former sketches and their "technical precursors" serving in their days for the realisation of industrial design and fashion-accessories, handwork that later on turned into art (if it hadn't been art yet in that time).
     The attentive and interested reader will discover a slow and gradual abstraction of the works arrising out of the circumstances of the time, as well as a refinement of its form of representation and expression, unmistakable symptoms of creativity and development of a personal style.

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     The elements used for the representation of the arguments in her drawings are of varying (and entertaining) origin and could be listed up in groups, as they belong to different object-classes, showing each and every a common denominator set up in their natures.

     A significant group, possibly the most important one, gearing to the development until the beginning of the work, refers to the world of the creation of fashion, more specifically to the design of dresses and accessories.

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     Those elements referring to the first of the topics, could comprise the following terms:

dresses : - décolletages - straps - neckties - sasches - veils - mantillas - trains - tops - sleeves - paillettes - pellets - knots

complements : - hats - ribbons - fans - pelerines - brooches - belts - scarves - neckerchieves - bracelets - necklaces - handbags - hairgrips - braids

little animals : - snails - mysterious creatures - birds - fish - bats - snakes - seahorses

the indians' world : wigwams - camps - lakes - canoes - paddles - campfires - smoke signals - bows - arrows - thepeace pipe - hatchets - blankets

objects with symbolic contents : hearts - apples - rhombs - triangles - garlands - palmtrees

the "5", the "E"

musical instruments : phantastics

abstract objects : vertebral figures - stamp-forms - horns - balustrades.

     The attentive reader and viewer is invited to discover plenty more of pleasant details, not to be found in this list, because the world of art he is introduced to in this works, is of extraordinary richness.
     The groups, formed by those elements that were used throughout the works were listed up according to the direct visual impact on the observer, that is, in accordance to the object-class they belonged to by means of sheer observation of their shapes and a first step to abstraction. That way, the snails and the birds e.g. were exponents of the class called little animals, the wigwams and the campfire were forming part of the world of the indians, etc.

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     In order to allow a more global perspective and for the purpose of having at hand a more efficient tool with regard to the effort to achieve a just and an adjusted approach to the complexity of the symbols applied in this world of pictures, the suggestion is made to introduce and to use the expression of "parameter".
     The word parameter came to us, as we know, by a compound Greek word with its preposition pará -, meaning together or beyond and the noun métron - with its signification of measure.
     Parameter as a draft has settled above all in mathematics, technology and economics, or in other words, in those areas of science that measure most. In mathematics we talk about parameters, in case we want to define a concept maintaining itself constant or relatively indefinit as an auxiliary variable. In technology the word lay claim to the concept of signification to describe e.g. the capacity of a device and it's in economics where it is used to caracterize a concept capable to influence in a process. But music too has taken hold of the word when talking about the nature of sound as a dimension in the range of perception.

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     The word parameter after all has on one, inherently and before all, concepts able to measure, like constants, variables, quantities, capacities, but also volumes, dimensions, extensions, apart from amplitudes, intensities o significances.
     May it be allowed at this point to look at the elements that concern us as constants o variables capables to express the range of perception of the outside world's reality and the intellectual reflection on it by the authoress. The objects previously mentioned now become visible in another dimension, making it necessary to look for other clues, more abstract ones if required, no longer in the sense of what can be seen in them but in the meaning of what is supposed to be represented by them.

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     What is looked for in fact is a psychological explanation and yet no longer of artistically handicrafts. Far more than before one senses the necessity to interpret what had been looked at. The difference is that it is not sufficient to recognize that there had been drawn a snail (belonging to the object-class of little animals) but definitely asking for the common denominator that could have the detail called into question in comparison with the compound of all applied details. The viewer is swept along now onto the territory of the philosophical world and its explanations. Taking a look at the list presented before (and not complete as pointed out), the key word to the understanding of this unknown dimension could be called interest or importance given to the things, obviously a subjective parameter.

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     Genoveva Serra's philosophical world, - what are the elements that can be found in it and above all, what are the motives that they had become established there?
     One will have to look at the applied elements using another system for sorting. That could be done by the forming of object-classes and the question of what could have in common the indian ethnic group with a snail, a seahorse or a flower, etc.
     Making the annotation that throughout the whole works one would search in vain e.g. a tiger roaming free, a hungry wolf with intimidating fangs, or victorious representatives of the powerful Roman Empire, or rather its symbols converted into art by the paintress, it can be seen by straightforward confrontation to emerge, in which way investigations have to move in order to obtain satisfying results capable to match with each and every of the details or for at least with the maximum quantity of them, in case plurality of classes would be admitted.

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     A demonstration to show the importance of chosen colours is intended by the colouring of dress and hat, as well as of the snail with reference to the exemplary drawing. In an experimental way there were applied three differnt colour schemes, the shades of which could possibly be described as cheerful in the first case, as elegant referring to the central figure and as sad or grave in the last one. The final result, the reception of the emotional message intended to transmit to the observer, as well by the colourng of each of the volumes as of the whole works, is closely tied together with the election of shades that to such an extent receive a significance by suggestion.

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     A possible concept would be the sorting according to words like "inoffensive, defenceless, or persued". Ultimately it would deal with persons, animals or objects in a must of protection. This way the viewer is led onto the formulation of a first wish by the paintress consequently talking about the desire of a non-violent world, a world of harmony. Nobody, studying the works with certain interest, could deny this concept, quite the reverse, one should recognize it as Leitmotiv of the more than seven hundred sheets handed in so far. It's sufficient to simply pay attention to all those pleasant, cheerful creatures, to the pistil constructions keeping their balances on bases, generally more than fragile, because of its small sizes in comparison with the structures built up on them, or to the wigwams forming an idyllic camp on the edge of a lake. There exists a host more of indications in this regard, impossible to describe in this context and to be confided to the joy of discovery of each of the observers.

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     The other important concept of the world that occupies us here, could be headed with the word "elegance". Contemplating the innumerables designs of dresses, complements or jewellery, it is to observe that harmony here as well has got its significance, as each of them is trying to achieve its equilibrium by inherent means.
     It namely was the industrial design of those elements, realized with anteriority regarding to the art sheets, that precisely induced them up to a certain extent. The availability of sketches of the previous work done, allows an easier evidence of their acceptance in the philosophical world called into question.
     Same as with the other expressed desire, harmony appears here again, building a bridge to the other concept described before. At this stage one possibly gets the Leitmotiv of the whole works and its key word which guides work and creation. The endeavour and diligence shown in this spirit not only can be percepted by the drawing of gentle lines for its volumes but has got its importance as well in the colouring.

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     The realization of a drawing step by step. From the very first lines in black colour with an extreme fine felt-tip pen causing a final effect of sharpness and with the intention to fix bodies and volumes as a résumé of the topic to reveal, through the application of golden tones in order to add solidity, abundance and - of course - elegance, up to the spreading of selected colours that will give the drawing gradually its definite appearance, it is intended to let the viewer know about the complexity of the realization of a picture, by contemplating the details from left to right and from top to bottom.

Copyright 1998 - 2014

Genoveva Serra - art