Santiago Serrano completed his primary studies at the Central Institute for Conservation and Restoration of Artworks (ICROA) in Madrid. He subsequently went on to join the ICROA as a technical conservator during 1968 and 1971. In 1968, he obtained a scholarship from the Juan March Foundation to travel to Paris to study at the Académie de Saint Louis. In the 1970s he established the key features of his art: austerity, a concern for materials and a compositional and chromatic simplicity. Critics such as Francisco Calvo Serraller have linked him to 'new abstraction', a trend in painting resulting from the crisis of the avant-garde and modernist ideas, manifested through a vision of painting as a territory of thought, or what Manolo Quejido would later call 'painted painting'. Serrano's work characteristically refuses to make any concession to naturalism and establishes its own austere language. At the heart of his art is a play between contradictory elements: full and empty, the body and its shadow, the spiritual and the material. His entire oeuvre is marked by two opposing tendencies: the search for an 'elusive' painting —visible from the 1970s on— and a tendency to enhance the dimension of the painting as an object, summarised in the idea of 'removing the painting from the wall'.
His first show was at the Galería Amadís (Madrid, 1971). Since then, his work has been exhibited at galleries such as Galería Fúcares (1979), Galería Egam (since 1983), Galería Soledad Lorenzo (1992) and Galería Juana Mordó (1994) in Madrid, at the Galería Joan Prats (Barcelona, 1988), and in institutions such as the Spanish Museum of Contemporary Art (Madrid, 1981); the Camón Aznar (Zaragoza, 2001); and the Városi Müvészeti (Györ, Hungary, 2003). His work can be found in some major collections, including among others the Museo Reina Sofía, the IVAM, the Patio Herreriano Museum, the National Library, the Museum of Abstract Art, the Juan March Foundation and the CAAM in Las Palmas. In 2017 he presented his latest work at the Carmen Conde Culture Centre (Majadahonda, Madrid). In 1996, he was awarded the National Engraving Prize for his research on graphic art.
Santiago Serrano completed his primary studies at the Central Institute for Conservation and Restoration of Artworks (ICROA) in Madrid. He subsequently went on to join the ICROA as a technical conservator during 1968 and 1971. In 1968, he obtained a scholarship from the Juan March Foundation to travel to Paris to study at the Académie de Saint Louis. In the 1970s he established the key features of his art: austerity, a concern for materials and a compositional and chromatic simplicity. Critics such as Francisco Calvo Serraller have linked him to 'new abstraction', a trend in painting resulting from the crisis of the avant-garde and modernist ideas, manifested through a vision of painting as a territory of thought, or what Manolo Quejido would later call 'painted painting'. Serrano's work characteristically refuses to make any concession to naturalism and establishes its own austere language. At the heart of his art is a play between contradictory elements: full and empty, the body and its shadow, the spiritual and the material. His entire oeuvre is marked by two opposing tendencies: the search for an 'elusive' painting —visible from the 1970s on— and a tendency to enhance the dimension of the painting as an object, summarised in the idea of 'removing the painting from the wall'.
His first show was at the Galería Amadís (Madrid, 1971). Since then, his work has been exhibited at galleries such as Galería Fúcares (1979), Galería Egam (since 1983), Galería Soledad Lorenzo (1992) and Galería Juana Mordó (1994) in Madrid, at the Galería Joan Prats (Barcelona, 1988), and in institutions such as the Spanish Museum of Contemporary Art (Madrid, 1981); the Camón Aznar (Zaragoza, 2001); and the Városi Müvészeti (Györ, Hungary, 2003). His work can be found in some major collections, including among others the Museo Reina Sofía, the IVAM, the Patio Herreriano Museum, the National Library, the Museum of Abstract Art, the Juan March Foundation and the CAAM in Las Palmas. In 2017 he presented his latest work at the Carmen Conde Culture Centre (Majadahonda, Madrid). In 1996, he was awarded the National Engraving Prize for his research on graphic art.