Whatâ€™s behind a painting or drawing, literally?Â The reverse of a canvas is a necessary mystery, with its potential for jottings, classifications, signatures and in some cases failed attempts.
In terms of drawing, Serra knows enough about failure. The 14 works made for the Courtauld are to some degree beyond his control. So the rejects â€œfar outweighâ€ the successes*.
Still, he presents us here with the hint of a reverse side, a see-though,â€™ canvasâ€™. This is the first time a museum has shown his drawings on transparent Mylar.
You soon realise that behind a contemporary drawing by Serra, you will find only more drawing. Litho crayon sticks to both sides of his material, as it floats in its frame.
They are something to get your head around. The American artist will coat two sheets of Mylar with crayon and then sandwich another sheet between them.
As he applies pressure to the topmost sheet, his ink adheres to both sides of the filling. So when he takes away the outer layers, it reveals an image he may or may not like.
Hard to say what Serra looks for. But on the evidence here it is: density, dirt, and a lack of gestalt forms. It’s as if he comes to the Courtauld Institute to put another full stop on art history.
The artist has hoped these works will leave you feeling hollow to the pit of your stomach. But what this blogger reports is a panicky failure to grasp the process at once, a frustration.
You want to pull apart these frames and see both sides. You want to see the process at work. You want to see the rejects. Despite the transparency of his materials, the mystery is increased.
*According to a fine catalogue essay by Barnaby Wright, which also has interesting things to say about Cezanne’s influence on Serra.
Richard Serra: Drawings for the Courtauld can be seen at The Courtauld Gallery, London, until 12 January 2014