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Ser Castro Serpas

December 15th -- March 3rd, 2018

Quinn Harrelson


Current Projects

if i could drop out of the world i would
right onto mars
then id be a settler
and my head would explode like in that simpsons episode
that made me cry 

A familiar thing (a dress, a baby’s onesie, an armchair) is molded just far enough from itself to see its own potential, a gesture of knowing and unknowing that echoes throughout Ser Serpas' practice. Serpas innately understands that the mechanics of systemic violence lie in the naming of bodies and things. She claims material, and she claims identity. Her materials too claim their own identities. An ottoman claims a gaping mouth, a rotting tongue, its been pushed just beyond itself. Her work insists upon a fluidity of understanding. As clothes name the bodies that are adorned by them, chairs name the bodies that have shaped them, point of impact as residue. Serpas weaves anti-portraits, that stick to your teeth like after-images.They clock you, and you position yourself in relationship to them as if to obey. A hospital gown is tenderly painted, then hung crucifixion style, This is domestic violence, which means to say the precarious violence of domesticity.

— Rin Johnson, 2017 

Ser Brandon-Castro Serpas is a poet and sculptor born in Los Angeles, CA and living and working between New York, NY and Los Angeles, CA. Serpas received her B.A. in visual arts at Columbia University and has recently exhibited or performed at MoMA PS1, NY , Bridget Donahue, NY, Karma International, Los Angeles, What Pipeline, Detroit, Bodega, NY, Sculpturecenter, NY and the Serpentine Gallery, London. This is Serpas first solo exhibition, and it is in conjunction with a project organized by Aria Dean at As It Stands, LA. 


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