Mireia Serra 西班牙表現主義極簡雕塑大師的作品欣賞<<2020~21ART>>－克李思漫遊

第八年為各位介紹 西班牙ROSA藝術集團 來台參加 [2020~21 Art Revolution Taipei 台北新藝術博覽會] 的藝術家。

第十四位、也是最後第二位要介紹的是2020年就已經答應來參展的表現主義極簡雕塑大師 Mireia Serra [譯音：米蕾亞·瑟拉]。Mireia 以其溫馨雕塑小品在今年四月初的“松菸預展”時打動了不少文青藏家的心，成績斐然！極簡的媒材與人物造型，卻勾住令觀者動容的情感記憶。

由於疫情影響，2020ART在世貿一館的正式展停辦，改為小規模的松山菸廠番外篇，但是已準備好的ROSA藝術集團十一位藝術家並沒有參與。等到2021ART時，ROSA藝術集團又加入了四位生力軍，總共十五位人數創新高打算盛大舉辦，不巧在今年臨開展前又因為台北疫情出現破口而延期！不論如何，就讓我們在網路上提前欣賞吧！

[如有藏家對某些特定作品想要更進一步瞭解相關資訊，敬請洽詢您熟識的工作人員或直接徵詢主辦單位！感謝～]

[封面圖為該藝術家參與2021ART四月初“松菸預展”時的展位照片]

※特別聲明：痞客邦置入性廣告太多，尤其是手機版，這非我所願，如果打擾到您瀏覽的心情，還請見諒！

Mireia Serra 的這些作品即將在Art Revolution Taipei 台北新藝術博覽會台北市世貿ㄧ館展售，歡迎前往看展。展位代號：G1~G4 [西班牙ROSA藝術集團] 。我們在FB也成立了公開社團(FB搜尋"2021ART-ROSA")，按這裡可以進入看這十五位藝術家的所有參展作品以及每張作品的文字介紹。

Mireia Serra [譯音：米蕾亞·瑟拉]

48歲(1973) ，出生並定居於巴塞隆納(Barcelona)，2002年畢業於Llotja藝術與工藝學院(和高第、畢卡索、米羅同一所學校)，專攻鐵和青銅雕塑，之後在歐洲現代藝術博物館跟雕塑家Jorge Egea進一步學習。擅長將生活日常轉變成生動的美麗瞬間，並激發我們思考生命和世界的關係，作品充滿象徵性的元素。自2016年以來開始在世界各地畫廊和藝博會展出，著名的收藏家包括美國名歌手Kelly Clarkson。迄今有14項個展、15項群展以及55項藝博會展出紀錄。

《刊登在大會圖錄上的介紹文》

對於Mireia Serra而言，雕塑已成為反映她內在世界的一面細膩而純真的鏡子。她將我們周遭世界的片段變成了遊戲和隱喻的作品，使觀眾可以立即與它們建立起連結，而這些場景也是她所關心的生活日常。透過這種方式，Mireia一開始就與觀眾建立了親密的關係，並開啟了通往情感、記憶和經歷的宇宙之門。

For Mireia Serra sculpture becomes a delicate and innocent mirror of her inner universe. Her pieces, small extracts from the world around us become games, metaphors with which the spectator can instantly connect, recognizing in these everyday scenes, concerns which are also her own. In this way, Mireia, opens the doors to a cosmos of sensations, memories and experiences, an intimate relationship with the viewer.

以下是藝術家本人對單幅作品的英文說明 [中文翻譯 by Yingchi]

在Mireia的作品中，留白是其中一項造型元素，透過加入一塊既能當成底座，又能連接各部分細節的金屬結構 (鐵) 來表達，大膽的框架不但與周遭環境互動，還能把整體空間納入構圖之中，這樣的創意發想賦予作品十足的現代感。如此一來，作品中人物的穿插擺置──就像我們在輕巧的鐵條上看到的那樣──便進入空間的遊戲裏，同時也讓掛上雕塑的整個牆面搖身一變，成為藝術品的一部分。這是極簡主義的概念與對建築的思考二者共存並用。
In Mireia's work, emptiness becomes one more plastic element with the incorporation of iron structures that serve both as a support and a connecting sign. Bold frames that interact with the environment, including it in the compositions and providing a very contemporary character to each of her pieces. This way, the placement of the figurines into a game with space, as we can see in its lightweight bars, transforming the wall in which they are anchored as part of the work of art. Minimalist concept that coexists with the way of thinking about architecture.

↑上圖：20211185811_獵人和鴨子_The Catcher and the ducks_青銅·鐵_Bronze and Iron_50x8x45cm_#11 of 18_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

這件作品是對J.D.沙林傑和《麥田捕手》中的另一個他——霍爾頓·考爾菲德的致敬。Mireia Serra講小故事時，仍不脫她以極具個人特色之標誌物來表現的一貫手法，在這裏是鴨子和一本書。一位想要以作品說好故事的藝術家可以從沙林傑那裏學到很多東西，尤其是他如何利用對物體和事件來處理支持文本敘述的豐富情感和高明的隱喻。《麥田捕手》的主要隱喻其實是當今很普遍的一個問題，當一切變化劇烈時，我們該如何自處？而冬天來了，鴨子都到哪兒去了？在這件作品中，霍爾頓很高興能與鴨子見面並解決了這個對他而言至關重要的難題。
This bronze and iron sculpture is a tribute to J. D. Salinger and his alter ego Holden Caulfield from The Catcher in the Rye. Mireia Serra tells small stories and leans on her iconic objects, in this case ducks and a book. An artist who wants to tell good stories with her works can learn a lot with Salinger, how he handles the great metaphors and feelings that support a narrative with objects and situations. The Catcher’s main metaphor is that question, so prevalent today, where do we go when everything changes radically? Where do the ducks go when winter comes? In this work, Holden is happy, meeting the ducks and solving the vital puzzle.

↑上圖：20211185812_叢林之旅_Welcome to the Jungle_青銅·鐵_Bronze and Iron_50x5x9cm_#7 of 18_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

對旅行的熱愛一直是Mireia Serra生命中的常數，她的相機陪伴她飽覽世界的一部分，捕捉了無數的場景和細節；她的雙手在地圖上比畫，想像著那些由細細的黑線所界定出的彩色區塊中，那裏的人和風景會是什麼樣子。因此多年來她把旅行納入自己的創作語彙之中，這一點也不讓人感到意外；路上的風景在她的人物面前展開，他們要不細細品味已經去過的地方，就是正在想像未來的旅程。
The passion for travelling has been a constant in Mireia Serra's life, taking her to tour part of the world accompanied by her camera, capturing an infinite number of scenes and details. Her hands have traveled over maps imagining what the people and the landscapes contained in those patches of color delimited by fine black lines would be like. It is therefore not surprising that for years she included them in her personal iconography. Open landscapes before her characters, who analyze the paths already traveled throughout history, or imagining those to come.

這個旅程對Mireia來說不僅是真實的親身造訪，同時也是主觀的想像力，這使她能夠跨越不切實際的領域並構思出令人難以置信的場景，從而讓想像在每件作品中都得以實現。
This journey has not only been real for the artist, accomplished through physical displacement; but also subjective, through her imagination. This has allowed her to cross impractical territories and conceive implausible scenes, providing her with an imaginary that has materialized in each of her pieces.

↑上圖：20211185813_你是唯一_You are the one that I want_青銅·鐵_Bronze and Iron_40x4x13cm_#7 of 18_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

Mireia以她的創作技巧讓觀者產生一種五感互通的體驗，透過感官的結合──比如藉由雕塑的體積產生觸覺，因為被顏色吸引而有了視覺，作品的標題則引發聽覺──不論是因為明確引用了某段音樂或只是採用一首歌的標題，Mireia皆視之為「啟動作品原聲的潛意識技巧」。基於這個原因，我們發現像《你是唯一》之類的作品，把在音樂劇《火爆浪子》(Grease) 結尾這首歌(You are I want that)的韻律暈染成一對身著黑衣的情侶，這是一種觸發聯想的方式，使用這個方法來喚醒觀眾對這段旋律的所有感覺和記憶。
Mireia uses all her creative skills to generate a kind of synesthesia in the viewer. Through the conjunction of the senses: touch, through the volume of the sculpture; sight, caught by colour; and hearing, evoked by the title of the pieces, either because it makes explicit reference to the music or because it is the title of a song. The artist sees it as “subconscious trick to activate the soundtrack of the work.” For this reason, we find pieces such as “You are the one that I want” (2019), which blushes the rhythm of that song at the end of the musical Grease to a stylized couple dressed in black. It is an evocative formula that uses and, as a consequence, awakens in the viewer all the sensations and memories that it has fixed to those melodies.

福門特拉島系列 Formentera：

在生活中，長途旅行後我們會需要回到原點，一個可以停泊的地方，或單純只是一個讓我們感到安全的地方，大部分的情況下，我們會把這個地方與一處劃定界線的所在──家──相連結；在某些情況下，對一個地方感到安穩或認同是因為我們生命中相依相隨的親密伴侶。Mireia再次關注這些無可爭辯的重要主題，以私密而富有啟發性的方式進行探討。
The need for a point of reference, a place to anchor after a long journey or simply a place where we feel safe is essential in our lives. In many cases, we associate it with a delimited location, a home. In other cases, the feelings of stability or identification that these places awaken in us are also generated by the special people who accompanies us throughout life. Once again, Mireia focuses her attention on these indisputably vital themes, approaching them in an intimate and suggestive way.

這些會讓我們想要不斷回去的地方，是因為在那裏我們能真正做回自己，即使我們不能如願地想去就去。因此，Mireia把2019年的一系列作品獻給了福門特拉島，她每年至少去那裏旅行一次，深陷在當地的美麗風景以及在地中海這個角落迴盪的能量之中而無法自拔。她說，這已成為她最喜歡的目的地，在那裏她靈感泉湧，而且安詳平靜，她認為這感覺是難以解釋的，「你必須親身經歷，然後才會瞭解。」她說。
Places we want to return to constantly, because in them we really feel like ourselves, even if we cannot do it as much as we would like to. Thus, the artist herself dedicates a series to Formentera (2019), an island she travels to at least once a year, trapped by the beauty of its landscapes and the energy that reverberates in this Mediterranean corner. This has become her favorite destination, where she feels inspired and at peace, sensations the artist considers difficult to explain, “you have to live it and then you understand” -she says.

然而她的創作最終卻更加擲地有聲。在大塊的土耳其藍和拋光後的青銅所組合而成的的構圖裏，充滿陽光，別有風趣，她的人物講述了他們自己的故事。
However, her work ends up being more eloquent. In playful, light-filled compositions of large turquoise fields and polished bronze accents, her characters tell their story.

下面的雕塑靈感來自福門特拉島。
The below sculptures have been inspired in the Island of Formentera.

↑上圖：20211185801_如孩子般夢想_Dream Like a Child_青銅·鐵_Bronze and Iron_34x3x17cm_#7 of 18_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

最好的事情就是向最好的榜樣看齊。夢想是重要的，如果有必要的話，還有誰會比孩子更有夢想。
The best is to do things as the best do. It is important to dream and if we have to, who better than children.

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《羅密歐與茱麗葉》這件雕塑挽救了那些柔情歲月的純真。在這個構圖中，羅密歐與茱麗葉的愛情由Mireia作品中最重要的標誌物之一 ── 鯨魚來體現。來自不同世界的兩隻本質各異的鯨魚彼此深情相愛，不畏阻擋，完全沒意識到那道深淵，也就是鐵塊之間的空隙把牠們分隔開來。儘管如此，愛情仍戰勝了理智。
This sculpture rescues the innocence of those tender years. In this composition, the love of Romeo and Juliet materializes in one of the most important icons in Mireia's work: the whale. Two whales of different nature, coming from different worlds, love each other intensely without being prevented by the consciousness of an abyss that separates them represented by the void between the two iron structures. Despite everything, love continues to overcome reason.

↑上圖：20211185803_耀如燈塔_Shine Like Lighthouse_青銅·鐵_Bronze and Iron_34x3x18cm_#7 of 18_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

這件作品把燈塔與想要發光發熱的主角做一比較。然而，這不單純地只是著迷於懸崖邊的燈塔在夜空下耀眼奪目的曠世絕美，或是簡單地想要閃閃發亮這樣的故事而已。在Mireia的作品與想要達成的目標裏，有一個非常重要的訊息，燈塔不是像煙火一樣閃耀繽紛供人欣賞，它的燈光可以幫助小船在夜間航行不被卡住而能順利回家，這裏包含了一種主動出於幫助和引導的意願，在盡可能的範圍之內；一旦作品吸引了觀者的注意，也許能幫助他們有所反思，或者分享某些理想性的、積極正向的感覺。
This composition compares the lighthouse with the protagonist who wants to shine. However, it is not the simple fascination with the enormous beauty of a lighthouse lighting up the night on a cliff or the simple desire to shine that tells this story. There is a very important message about Mireia's work and her goal. Lighthouses do not shine like fireworks for simple enjoyment, headlamps help nighttime boaters get home and not be stuck. It is a willingness to help and guide, whenever possible, once the viewer's attention has been engaged in the work, maybe with some reflection, maybe sharing an ideal or an anchor to some positive feeling.

地球系列 Worlds：

在她手裏，那些原本只是人物身邊簡單輔助道具的地圖卻增添了不少分量(體積)，由平面轉變成球體，而地圖細長的邊界線也化為藝術家雙手重塑後的清晰輪廓，地球相對於地圖的互補元素反而更強化其本身的特點，並成為新創作的主要元素之一。Mireia說明了這項改變：「地圖和地球是在我的整個作品中反覆出現的標誌物，儘管它們最初都以相同的概念來代表世界，還有我們如何把自己定位在世界上或自己的生活當中，但地球讓我在作品中發展出更與眾不同又強而有力的喻意。」
In her hands, those maps that were simple objects of consultation for her characters, were acquiring volume. The plane became a sphere and the fine boundary lines became sharp contours defined by her fingers. The complementary elements went on to reinforce their autonomy and become one of the main elements of the new compositions. Mireia reflects on this change: “Maps and world globes are icons that appear repeatedly throughout my work and, although they initially come from the same concept linked to the representation of the world and how we orient ourselves in it or in our lives, world globe worlds have allowed me to develop different and very powerful metaphors in each piece.”

↑上圖：20211185804_我的內心世界_Inner World_青銅_Bronze_15x15x19cm_AP#1 of 4_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

為了創作，Mireia經歷了一個內在反芻的過程，她分析自己的長處和短處，還有生命成長所走過的路與十字路口前的徘迴。這種種體現在作品中，於是我們看到了沉思默想的人物，他們內觀自我，享受孤獨，正如《我的內心世界》中所表達的那樣。把這種內省的練習理解為「一種精神態度或心緒活動，當考慮主角該如何來表現時，便以此為基礎，讓人物全神貫注於那件事，並傾向於無限地延長事件的進行，帶著一種天真以及表面看來的靜定安詳──至少是外表的，而且在大多數的情況下都是靜止不動的。」(Souriau, 2010)因此，便有了諸如冥想、瑜珈、閱讀或聽音樂之類直接涉及個人成長活動的創作，同時也有把時間留給自己、在游泳池畔享受休閒時光，或是看著太陽落下地平線、領悟生命須有所改變的作品。透過這種方式，藝術不再追求模擬仿真、重現其他事物，反倒成為連結心靈的秘密見證者，試圖追求、捕捉那介於重新創造與影射示意二者之間的奧妙片刻或神秘莫測。
To create many of her pieces, Mireia undergoes an internal reflective process, analyzing her strengths and weaknesses, and everything that has served her throughout her life to grow and reach that point, those crossroads. This circumstance is displayed in works that present us with contemplative characters, turned inward, enjoying their solitude, as expressed in "Inner world" (2019). Understanding this contemplation exercise as “attitude or activity of the spirit by which the subject, when considering an object, absorbs himself entirely in this consideration and tends to prolong it indefinitely with a kind of naivete and an appearance, at least external, of stillness and immobility on most occasions.” (Souriau, 2010). Hence the representation of activities such as meditation, yoga, reading or listening music, which directly involve personal growth. Time for ourselves, leisure time to enjoy by the pool or watching the sunset on the horizon, time to change. In this way, art abandons its zeal for simulation to become something else, a secret witness to a connection, a search to capture a moment or a ciphered enigma between what is recreated and what is revealed.

↑上圖：20211185805_世界任我遊_Light Sail_青銅_Bronze_15x15x20cm_AP#1 of 4_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2017

他是一個勇敢的冒險家，充滿自信，直接地面對世界。他無所畏懼，沒有什麼手段，他樂於解決問題，排除萬難，避開如波浪席捲而來的重重阻礙。在這裏的構圖巧思之中，他帶著努力、決心和熱情航向大海。
He is a fearless adventurer, self-confident, he faces the world face to face. Fearless and with few means, he solve the problems and avoids the obstacles as if they were waves. With a mixture of effort, certainty and passion, he is propelled across the seas in this delicate composition.

↑上圖：20211185806_倆人世界_Love her madly_青銅_Bronze_15x15x19cm_#7 of 8_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

愛、慾望和友誼是普遍常見的主題，所有的藝術形式都曾多次對之加以發揮，很難找到新的方法來處理而不落入俗套，老調重彈。儘管如此，Mireia以決心和技巧來克服面對，她把細膩的性感──顯然是透過刻劃在人物身上的的溫柔日常來表現，與簡單而直觀的概念融合在一起，幾乎可以立即與觀者進行交流。
Love, desire and friendship are universal themes t hat have been evoked many times by all forms of art. It is difficult to find a new formula to approach them without falling into the same stories and ruminated motives. Nevertheless, with resolution and skill, the artist faces this task by combining a delicate sensuality that is evident through the tender everyday gestures printed on each of her characters, together with an amalgam of simple and very intuitive concepts, which allow an almost immediate rapport with the viewer.

同樣地，她作品所暗示的詮釋方式使我們得以擁有雙重的閱讀理解，特別是地球系列的創作，正如我們從《倆人世界》中觀察到的一樣。Mireia 對此詳加說明：「地球是我們所共享同時必須照顧的土地與真實的存在，同樣地，在我們對伴侶的愛與對地球的愛之間也存在著一種平行關係。男孩與女孩的手交織相握，並且放在她的腹部──這是一個傳宗接代的地方，我們的後代子孫將繼續傳承這個地球。」
In the same way, the interpretative capacity suggested by her compositions allows a double reading in the case of world globes, as observed in her piece “Love her with madness” (2019). “It is the Earth as a real object and territory that we share and must care for. Again, there is a parallelism between love for our significant other and love for planet Earth. The boy has his hands intertwined with hers and on her belly, where our descendants are, the one that will inherit this Earth”- clarifies Mireia.

↑上圖：202111858181_尋找新世界_Terra incognita_青銅_Bronze_15x15x18cm_1 of 8_人物_米蕾亞·瑟拉_Mireia Serra_西班牙_2020

鯨魚系列 Whales：

與我們可能會想到的另一頭鯨魚「莫比·迪克」相反，Mireia的鯨魚沒有任何憤怒或暴力，即便如此，它們還象徵了為達到目標，甚至是無法企及的執著所做的努力。正如Mireia本人指出：「生命可以是一段我們追求一些永遠無法實現的事情的旅程，那可以是愉悅的，就像我的人物所親身經歷的一樣，而不是亞哈船長的經驗。能讓我們繼續快樂、理性地活下去是因為明天還有很重要的事情要做，無論是雕塑、修剪樹叢還是與不公不義抗爭；我們必須身體力行，儘管在我們死亡之前都無法結束世界上的不公平待遇，但樹枝將繼續生長，也總會有雕塑被創造出來。」
Contrary to what we would suppose of his alter ego, Moby Dick, with Mireia’s whales there is no resentment or violence whatsoever and, even so, they symbolize the effort to achieve a goal, an unattainable obsession, as Mireia herself indicates: “life can be a journey in pursuit of something we will never achieve, and that can be pleasant, as my character lives it, and not like Captain Ahab’s experience. What keeps us alive, happy and sane is that tomorrow there is something important to do, be it a sculpture, pruning a grove or fighting against injustice. We must do it, although we will die without ending the injustices of the world, the branches will continue to grow and there will always be sculptures to be made.”

註：「莫比·迪克」是美國作家梅爾維爾創作的長篇小說《白鯨記》中的那隻抹香鯨。亞哈船長則是被莫比·迪克咬斷一條腿，矢志追捕莫比·迪克的船長。

在這個系列中，她的每條鯨魚都用一種特定的顏色來強調，並藉由表面上的雕刻細節來加強某些代表生命力的價值或特色，從而生成一種色調編碼，然後再轉移應用在其餘作品中。正如Mireia對2019年的「鯨魚」系列所明確宣稱的一樣：「永遠不要停止追逐你心中的白鯨，不論是關於環境保育、社會正義、人類尊嚴或對人權的尊重，你可能終其一生都將為之叛逆而行，無法休息，但永遠要保持警惕之心。也順道說一下，請不要捕殺鯨魚。」
In this series, each of her whales is enhanced with a particular color and emphasizes certain values or characteristics of great vitality by engraving them on its surfaces, generating a tonal code that she then transfers to the rest of her works. As the artist categorically announces about this series “Whales” (2019) “Never stop persecuting your white whales: environmental and social justice, human dignity, respect for human rights. It can take a lifetime to be a rebel without pause. Always be vigilant and, by the way, NOT WHALE HUNTING”.

↑上圖：20211185807_璀璨愛戀_Love_青銅_Bronze_17x10x7cm_#14 of 18_動物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

金色與愛和家庭息息相關。這件作品在鯨魚的尾巴上刻上以下的銘文：「愛、家庭和齊心相守。」
Gold is linked with love and family. The work includes the following inscriptions on the whale's tail: Love, Family and Together.

↑上圖：20211185809_蔚藍大海_Ocean_青銅_Bronze_17x10x7cm_#14 of 18_動物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

在這裏，土耳其藍代表成為完全自由的個體之野心以及一片開放具有無限可能的海洋。鯨魚尾部刻有海洋、自由和藍等字樣。
In this case the turquoise color is linked to the ambition to become beings with full freedom and an ocean open to all possibilities. The words Ocean, Freedom and Blue are engraved on the tail.

↑上圖：20211185808_純淨本然_Nature_青銅_Bronze_17x10x7cm_#10 of 18_動物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

白色象徵對冒險和自然的熱愛。鯨魚尾部刻有冒險、自然和狂野。
White symbolizes love for adventure and nature. Engraved on the tail are the words Adventure, Nature and Wild.

↑上圖：20211185810_個性至上_Rebel_青銅_Bronze_17x10x7cm_#10 of 18_動物_米蕾亞·瑟拉_Mireia Serra_西班牙_2019

黑色是叛逆不羈和與眾不同。鯨魚尾巴上刻有叛逆桀驁、不同凡響和自由不拘等字樣。
Black is identified with rebellion and difference. The words Rebel, Different and Freedom are engraved on the tail.