Sery C.: ENGEL-FACE, 2004
geboren 1959 in Linz, Österreich, lebt und arbeitet in Dresden. Nach dem Studium für Hochbau studierte er an der Kunsthochschule für künstlerische und industrielle Gestaltung in Linz. 1984 ging er nach Deutschland und arbeitete dort als freier Künstler in Düsseldorf. Seit 2003 lehrt er in Dresden als Professor für Interdisziplinäre Malerei/Experimentelle Malerei an der Hochschule für Bildende Künste, deren Rektor er von 2005 bis 2012 war. Er hat sich mit seinen Werken an zahlreichen Einzel- und Gruppenausstellungen u.a. in Düsseldorf, Linz, Mailand, München, Frankfurt, Madrid, New York, Köln und Dresden beteiligt. Im KULTUM wurde Sery in den Ausstellungen „ANTECHAMBER – vor der Scheidung“ (steirischer herbst, 2004) und „RELIQTE“ (2010) gezeigt.
born in Linz, Austria, in 1959; lives and works in Dresden, Germany. After studying Building Construction, he enrolled at the University of Arts and Industrial Design, Linz. He moved to Germany in 1984 and worked there as a freelance artist in Düsseldorf. He has been Professor for Interdisciplinary Painting/Experimental Painting at the Academy of Fine Arts Dresden since 2003, the Rector of which he was from 2005 to 2012. He has participated in a large number of solo and group exhibitions i.a. in Düsseldorf, Linz, Milan, Munich, Frankfurt, Madrid, New York, Cologne, and Dresden. Sery’s works were shown in the KULTUM in the exhibitions “ANTECHAMBER. Vor der Scheidung“ (steirischer herbst, 2005) and “RELIQTE“ (2010).
Sery C.: ENGEL-FACE, 2004
The images the artist Christian Sery, who teaches in Dresden, creates cannot be conceived without space. But not as a surrounding space but as a carrier of the image. Sery’s painting stretching into space, which is both tactile substance and color matter situated in space, is always about spatial object which snuggle real surfaces—and fall off and sink to the floor in accordance with the law of gravity. Christian Sery explores spaces by enshrouding and laminating them with a colored rubber mixture he has developed himself. Then he removes it after its solidification of the “skin”, peels it, and struggles with it in sculptural ways. In this way he has measured dignified and less dignified spaces in different European places: Historical foyers, classicistic facades, directors’ offices, men’s rooms... By means of the new painted skin made of a caoutchouc mixture the historical vault in the basement of the former Jesuit College—before its conversion into a utility room of today’s Diocesan Museum—peeled off. It was sinking to the floor bit by bit. With the coagulated color that is left over on windows, niches, or walls like the result of a molting process, Christian Sery does not only burst the concept of traditional painting towards the wall, space, and materiality in his artistic approach but also goes into the actual tectonics of the built spatial structure in his installation. He deconstructs architecture and thus its spatial history too by means of color—or he anticipates it.
Text aus | Text from: Johannes Rauchenberger: Gott hat kein Museum. Religion in der Kunst des beginnenden XXI. Jahrhunderts. | No Museum Has God. Religion in Art in the Early 21st Century. (IKON. Bild+Theologie, hg. von | ed. by Alex Stock und Reinhard Hoeps), Verlag Ferdinand Schoeningh, Paderborn 2015, S. | p. 892-893.