Biography

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CAREER PATH 

Although working as a Geological Engineering, I had always felt a set designer inside. I needed some time to match the two complementary driving forces of my life path: my inner vocation and my professional career. Currently, I have a Postgraduate degree in Set Design for Performing Arts by Elisava (Barcelona School of Design and Engineering). Since 2012, I design scenographies and conceptualize spaces, linking a wide range of artistic projects from set designing to art directing for TV commercials.

Even though I am currently commuting between Barcelona and Leuven (Belgium) this has not meant an obstacle for continuing with the development of my projects. To the contrary, this change might represent an opportunity and a driving force to further develop and share my expertise abroad and show my works to new scenarios.

In 2017, I started working intensively with the set designer Laura Clos “Closca”, thus formalizing our “artistic marriage” and settling our working philosophy concept. 

My recent jobs includes the set and costume design for “Smiley, després de l’amor” (text and direction by Guillem Clua), the costume design for “Història d’un senglar” (text and direction by Gabriel Calderón), the set design for “XII Gaudí Awards” for the Catalan Film Academy and the set design assistances for “53 Diumenges” (text and direction by Cesc Gay) and “La rambla de les floristes” (directed by Jordi Prat i Coll).

I currently combine teaching at the Art Direction Postgraduate course in ESCAC and working on the set and costume design for different theatre productions.

HOW I WORK 

To me, set design means a collective adventure of knowledge, passion, inventiveness and intimate creativity where curiosity and empathy are the best allies. While designing, I always try to assimilate the director’s ideas, understand and love the text as a writer and be sensitive to the interpreter’s needs in order to create evocative imaginary spaces that are full of truth, sense and poetry. I believe small details are critically important, while I let myself be seduced by the wide potential of materials and the exploration of new formats and scenic languages.

I am always working from the premise that the function of design is not merely to illustrate the performed text, music or movement, but to provide a further layer of visual narrative.

I enjoy inventing new playing rules in every project, in every challenge, and transforming the set – enabling it to becoming one more character-. I seek the audience to question itself: what am I going to see next? what will be revealed?

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