Pol Codina

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Born in 1983, he is the fourth generation of historic Catalan ironworkers and who is in charge of Serralleria March. Ironworker and sculptor, he has got a degree in Industrial Design at Massana School in Barcelona. His apprenticeship started at the family studio with his father as the master. From the beginning he took up a personal research towards iron and metals expressive language.

 In 2004 he carried out his first installation called Thorns, and he was chosen three times as an outstanding young artist by Sant Lluc Association about Art in Mataró. Around the middle of 2007, Rafel Codina and Pol Codina received a proposal to carry out the monumental project El Peix del Maresme that was going to be placed at the new seat of Caixa Laietana in Mataró. The project was finished and put in place in 2007

Codina is a member of AFOC (Ironworkers Association of Catalunya) and takes part in exhibitions with Serralleria March. Out of his work, he is completely devoted to sculpture and usually does some individual and group exhibitions. In 2010 he presented an individual exhibition called Pol Codina 05-09 at Monjo Museum in Vilassar de Mar and Punt de Partida

In 2010, with his sculpture Grávida he was a finalist at the Arts and Artists Foundation’s Competition and he decided to loan it to the MEAM (European Museum of Modern Art) in Barcelona, where it is exhibited. Another of his works, called Teach me Mother is at International House of Artists in the city of Tamanrasset, Algeria.

Consolidated as an artist of the group ‘Els Dimarts del Llimoner’ he usually does some group exhibitions at different places in Spain

Currently, he continues working enthusiastically and creating new projects for different fields at Serralleria March workshop

Pol Codina’s aesthetic comes not from conceptual ambiguity nor form the interpretative darkness. It is strong, powerful, and clear. The outline of a form from the nature, empty inside, fills up the piece with content. Then, the imagination doesn’t need to do the rest because the artist has already done it. The spectator can, nevertheless, dive into an Homeric interpretation of the fish, the bodies, the animals  and into the see of the artist’s thinking, sometimes brave, sometimes in calm.

Manuel Patricio

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