If, during the last few years, there were series such as Abanderado, Llaves or Orillas, which referred to a logical experiential sequence of the faculties of the painted surface, in order to present consistent, but not closed, plastic identities, through the almost exclusive use of partitions, taking matter and form as instruments of a pictorial project in constant transformation, in recent years the trinomial line, plane and color establishes new and poetic interrelationships, where formal essentiality continues to keep the secrets of that total work never completely finished.


The harmony exude these new paintings by Santiago Serrano, now grouped in the series Shadows of Smoke, responds to an evolution that in the case of this artist, has not necessarily been linear but coherent to his personal situation, through which the painter retakes aspects of the past and the present in a constant coming and going within a territory always linked to abstraction.


As his works have been usual, geometry organizes the two-dimensional space of the painting, however, it is the color and its nuances that give life to the work, so color is again the undisputed king in the works of the artist from La Mancha, and it is used to create fields of enormous chromatic subtlety, divided by the straight line.


Unlike previous series, however, the modular reiteration derived from a given geometrical figure is no longer so interesting, as is the search for that balance through diluted or condensed pigments in quadrangular areas that complement each other in a natural way, without artificial tensions. It is the fluid development, nothing forced of the painting, the softness of the broken tones and its quality of creating atmospheres: gray, ocher, brown, sprinkled with slate blacks; it is also the immense capacity to provoke emotion through the pigment and to take the viewer to the infinite of a surface that extends into inner depths, what really moves these pieces. In this physically and mentally fragmented landscape, painting represents itself without the need for external supports.


On the other hand, the evocation, whether mythological, poetic, philosophical ... is a game that does not renounce the artistic spirit of Santiago Serrano, as long as it is not at odds with the economy of means on which all his creation is based; This requires a firm commitment to himself and to art. That is to say, the beauty understood from a reductionist prism that in turn embraces the poetry and the elevated of the human being, sublime manifestation of the feeling.