Richard Serra
The first complete showing of these works outside the US focuses on two series of prints made using black oil stick. Serra, one of the most significant artists of his generation, was known for monumental steel sculptures. However, his explorations of form, mass and gravity informed every aspect of his art, including his works on paper.
Casablanca 1-6, 2022 and Hitchcock I-III, 2024 mark the culmination of over fifty years of printmaking. Although described as prints, none of these works passed through a press and the methods used are unlike those of traditional printmaking; Serra’s chosen media undermines our understanding of what constitutes an editioned work.
Each work was made using oil stick, a combination of pigment, linseed oil, and melted wax. The mixture was moulded into large cylindrical sticks, then pressed down into a meat grinder and blended in an industrial dough mixer with silica. The mixture was applied in layers, by a gloved hand, directly onto handmade paper, pushing and rubbing in a downward direction. Each layer required weeks of drying time before an additional coat could be applied. As a result, each impression varies in its construction.
For each work, layer upon layer of black oil stick was built up so that an intensely textured and rich three-dimensional surface emerges, evoking a large void. This imposing effect of black absorbing and reflecting light, dominates Serra’s prints. When making works on paper Serra remained committed to using a single palette of black to investigate weight, stability, and density.
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Breakfast reception
Saturday 15 March 2025, 11am - 2pm
Guided tour
11.30am
RSVP required via events@cristearoberts.com
“Black is a property, not a quality. In terms of weight, black is heavier, creates a larger volume, holds itself in a more compressed field. It is comparable to forging.”
The mass of black in each work, which almost fills the entire sheets in Casablanca and Hitchcock, is relieved by thin areas of paper that appear to rise or emerge from curved edges and corners. Serra examines tension and gravity through this unequal balance of heavy mass and handmade Japanese paper. The paper support almost appears precarious; each impression of Casablanca, measuring over 150cm in width, weighs nearly 10 kilograms.
Serra was interested in how an artwork not only exists in space but reorientates it. His sculptures created environments that had to be walked through or around to be fully experienced. Serra’s printmaking extends these investigations, interrogating the physical relationship of mass and the flat surface, and the viewers relationship to it.
The exhibition also features examples of earlier uses of black oil stick and etchings by the artist dating from 2004, and a display of the tools used to create these groundbreaking works.
Richard Serra: The Last Works demonstrates how the artist’s radical techniques and exceptional approach to making editions, remain singular in the history of printmaking.
Since presenting the first exhibition in the UK devoted to Serra’s prints in 2013, Cristea Roberts Gallery has continued to exclusively exhibit the artist’s editions in Europe. The works on show were developed by Serra with Gemini G.E.L., an artists’ workshop and publisher in Los Angeles, where Serra made all his editions, a collaboration that lasted for over fifty years.
