Art Attack SF is proud to present our January Spotlight Artist, Seren Moran! Her new work is on display from January 2nd - 27th, 2018. Preview the artwork online and join us for the opening reception on Thursday, January 4th from 6:00-9:00pm during the Castro Art Walk!
Where does most of your creative inspiration come from?
It really depends on what series I am creating. My inspiration usually comes from something specific and then I develop a body of work surrounding that concept or idea. In the past, I have drawn inspiration from travel, architecture, family relationships and memories. My current work responds to feminism and our current political climate, influencing my decision to incorporate knots into my work as a metaphor for a woman's 'role' in society.
You play with many colorful and patterned planes in your paintings that are seemingly collage-like. Do you have a system to help you decide where one design ends to meet another?
I do not have a system to decide where one design ends and another begins. I typically start a painting impulsively and intuitively, letting my body do the mark making without conscious thought. I then follow up with calculated decisions on what designs to disguise or reveal, determining the direction of a viewer's attention. This process is applied to each piece, but there is no systematic way to determine what designs overlap, what designs stay visible, and what designs disappear under a new layer of paint. All of that depends on the direction of each individual piece.
Where do you find the materials you use in your Assemblage and Binding works?
I like using recycled materials. I am drawn to things that are visibly worn exposing the material's history. I find my materials anywhere and everywhere including junk yards, thrift shops, garage sales, even just off the street. I have tried purchasing new materials from art stores but they never seem to inspire the same creativity. There is an excitement and resourcefulness that comes from digging through junk to find something unexpected that inevitably elevates my work.
What is an average day like in the studio for you?
I typically know exactly how I will start a studio session before I arrive. After years of having my studio at home, I became accustomed to reflecting on my work in my 'down time', allowing my 'studio time' to be efficient and productive. With my studio now out of the house, I try to use the same method. I take photos of my work at the end of each studio session to reflect and plan my next moves ahead of time. I also always work on many paintings at once. I try to keep all of my in-progress paintings on a similar level of completion so I work on the least completed piece until it is the most completed, then repeat the process.
What is the most indispensable item in your studio?
I am kind of embarrassed to say this, but it would probably be a specific paintbrush. I am hesitant to admit that because I pride myself on continuously branching outside of my comfort zone and always being open to try new materials, new tools, and new ways of working - which I do! But somehow I have developed an attachment to this one paintbrush that I seem to use at some point during every studio session, even if just momentarily. When I painted once without it, I found myself out of balance, which is so silly because it is a small paintbrush and a lot of my work is large so I don't even use it that often. It isn't logical, but it has become sentimental somehow making it a necessary item in my studio.