Paying homage to his welder father, artist Francisco Serrato is nonetheless carving his own path when it comes to working with metal – creating experimental steel sculptures that combine industrial materials with a very human touch.
Industrial materials are becoming more prominent in contemporary art, particularly in sculpture and installations, with artists experimenting with recycled metals to explore light, perception and movement – often blurring the line between craft, design and fine art.
Steel, long associated with construction and heavy industry, has in recent years found its way into galleries and exhibition spaces. Francisco Serrato uses the industrial material to produce visual effects that change with their surrounding environment.
Growing up with a welder for a father meant that metal has always been a part of his life, but he has carved out a different path when it comes to using it.
"Steel has sentimental value for me. It speaks to me on an olfactory level, a tactile level, an auditory level," Serrato told RFI.
"I think of it like a member of my family. I love steel and that’s why I try to showcase it as much as possible as I see it – not as something cold or utilitarian, but rather something that speaks to people."
Hidden beauty
Serrato had spent some time working in an industrial setting, albeit in an office, and had dabbled in metalwork with his father, but he felt he needed to explore the possibilities further.
His background feeds into a practice that sits at the crossroads of craft, art and industrial heritage. When the opportunity arose to do some professional training, he tried a variety of different trades, from woodwork to tapestry.
But it was steel that caught his imagination as a medium, for its hidden visual beauty.
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"Steel is still a metal. It transmits energy, and not just physical energy. Metal can be used for electricity and for other things. It transmits heat, but it also transmits vibrations and the colours contribute to this vibrational aspect. You can see this deeper side of it."
Hailing from France's southern region of Provence, Serrato has always been spoiled when it comes to sunlight. One day while inspecting a work outside, he saw, to his surprise, a rainbow emerge from the otherwise flat surface.
From then on, he began to incorporate light fully into his artistic practice.
He began experimenting with tools to create different designs on the surface of the steel sheets, producing a multitude of shapes and even optical illusions of movement – all thanks to light.
He noticed subtle changes when the works were hung next to a lamp or an open fire, or a television screen. He saw the potential for limitless "special effects" in contrast to those seen in natural sunlight.
Relinquishing control
His works sometimes look like they've been painted, but Serrato insists there are no chemicals used to make the colours – just hours and hours of polishing work.
"The colours emerge in the light. I heat them up which also makes them change colour. Sometimes colours form because of humidity or a slight draught when I’m using the heat. So anything can change, I don’t control the whole process."
Serrato likens his sculptures to human characters, with no two alike. He gets a kick out of how each viewer sees a completely different work, depending on the time of day, the type of lighting or the absence of light.
His focus on process, chance and shifting perceptions echoes a wider interest in process-driven art, where artists deliberately relinquish some control over the final outcome.
"Human beings have many facets and my works are a little bit like people in that way. In the daylight they look a certain way and then in the evening light, they look different. If you turn off the lights and stand in front of the works, you’ll see them in a completely new way."
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'The human touch'
Environmental concerns have also increasingly shaped artistic practices, with more artists seeking to reduce waste by reusing off-cuts or repurposing industrial by-products.
Serrato is proud to say his works carry an "eco label", meaning he uses recycled scraps of metal wherever possible. With the off-cuts from his work he has started a line of rings. He has also developed his own varnish made from orange blossom, so as to avoid using any harmful chemicals.
While he hails the progress artificial intelligence has brought to medicine and science, Serrato is also proud that his works are all handmade and that he doesn't use computer-driven images to create his designs.
He is convinced that what draws people to art is "the human touch".
"Even though artificial intelligence is wonderful, it makes beautiful things, people aren't stupid. If they want something deeper, more human, they'll inevitably turn to an artist who creates with their hands, who takes their time, who observes a landscape with their own eye."
