Teratological art and Noah Serrano
“You never get to know why devote yourself to sculpture, when you already have it clear, you are already inside.”(Noah Serrano, 2018)
Today the world is increasingOpinion about our different social groups, the human body is a maze full of ideas entrenched to stereotypes and beauty concepts. Art is not deprived of these judgments implanted by society, the artist possesses in his hands the message he wants to convey generating in itself the concept of beauty, in this context the teratological art studies abnormal creatures by keeping a certain relationship with the techniqueArtistic of Noah Serrano and many artists more than somehow create foreign bodies, leaving the aesthetic judgment to social observation.
Deform beings, monsters, magnificent iconography compositions, all these options make. From Australia, Patricia Piccinini a sculptor who works almost the same technique and with a common theme such as aversion and attraction, soft textures and facial expression work a lot in her deformed creatures, coincidentally minimizes the visual impact that can cause the monstrosity of their product with the presence of children, who configure tranquility and innocence, the same happens with Noé Serrano that give some naturalness and darkness to their disturbing creatures, works such as the official (2005), El Pastor (2007), and The little dictator (2011) does not only contain this animal essence and in turn human but also a critical reflection and although it sounds something ironic, which denounces in a certain way some elements of religious, political power, seeking more and more to be able to find their works This representation of the decline, cannot be forgotten that his works are full of his experience day by day, here is the importance of the great interval D And time in which it takes to make the production of these works, since new ideas and learning arise, both artists are sculptors of contemporary art, hyperrealistic projects that are presented in front of the eyes of the public in an almost cruel way.
In this ambiguous mechanism is precisely the young Cordoba Noé Serrano, has a unique and special creation process that range from molds to real pieces or photographs of human and animal corpses, a process that of course has been built through targets drawn up and thatIt is also very complex from defining the modeling, design and definitive materials his obsession with anatomy has led him to make a modeling aware of what is on the skin above and below each body that examines and analyzes with much of dedication in dedication inPhotographs, in turn he has led the sculptor to cease to be productive, that is, he invests the time he could use to finish a work to study the anatomy. Likewise, completely new textures work like the skin. His works are always very detailed, so they take between one year or average year, when mixing human and animal anatomy, he seeks that the public of a look inside the human being, that they find that behavior bothPsychological as a sociological of human nature, trying to externalize that instinctive animal part that we have but that we certainly hide for social labels. However, it was never a persecution of the skin, if he worked unconsciously, he only triedthat makes known but sought the perfection of the skin as a human identity.
There is no single way to cause terror, horror and rarely repulsion, visual culture is more than alive today and is judged in many ways. The great sculptor Noah Serrano tries to bring the animal anatomy to the limit relating it to human profiles, the public is the one who chooses to be scandalized or impressed by grotesque art, we are in a definitely media society always rooted to so many stereotypes, standards that we do not understand that exaggerationsame is caused by playing a character done perfectly.
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