Santiago Serrano (Villacañas, Toledo, 1942), began his artistic career in Madrid in the 70s, along with a group of artists who starred in the return to painting as a dominant practice. Since then and with an own aesthetic ideology, he has manifested, in the totality of his work, his fidelity towards the paths of abstraction that he always cultivates with an austere language and with a great formal and chromatic purity.


Armando Montesinos analyzes his latest works: "The paintings and drawings of his most recent series, which make up this exhibition, are diptychs: two squares that form a rectangle. While the horizontal edges of the paper or the canvas maintain a continuity barely interrupted by the physicality of the cut of union between the two squares, this cut is added to the four vertical edges to generate stable and homogeneous partitions of the rectangle that pose a discontinuity of the field pictorial.


... For a long time the artist has been serving in his paintings an underlying structure that serves as an anchor, not to allow variations but, precisely to deviate from them and to develop, in the same conceptual ground, different perceptual approaches. This structure is a kind of T tumbada that, through the displacements of its vertical and horizontal elements, acts as a kind of hinge that builds the space of the canvas.


Thus, in the field of action formed by the double squares described above inscribes the tumbled T, which produces new partitions, symmetries, echoes and structural rhymes, which summon - without ever reaching them, because they have more to do with the perception of extensions of surface that with architectonic spaces- presences of threshold and horizon, that are, in turn, activated, annulled, tense, by the zones of color. These, constructed with millimeter tonal nuances, bring into play intense harmonic tangencies, subtle crystallisations, both geometric and organic condensations. The dry, rough paint, which however sometimes reaches a velvety quality; the use of the pigment as pigment, that is, as primitive raw material; the effectiveness of blacks, sometimes pure graphite; all this creates an opacity of dense atmosphere. "