“Homes” is a series of Seren Moran’s newest body of work. These abstract images of color and line painted on edged-frayed canvas are architectural renderings reimagined… beautiful and poetic. Like reading a book for inspiration – they’ll spur your creative streak. To see these and other pieces in person you’ll find listed exhibitions here.
What was your motivation for this latest series?
After living abroad for several years and away from home for 6, I returned home last winter and had a heck of a transition coming back. It was a really strange time for me to adjust and I was fascinated by how one can experience a culture shock returning to what was once so normal and comfortable. So I began to explore this, this nostalgia and transition and the idea of home and what that is. And how “home” is something we attribute to a structure, to a house, yet it’s really so much more than that and so much more difficult to explain or depict. So from that, I started looking into these structures/homes of my childhood friends and depicting them in the abstracted ways I see them.
Though abstract, lots of structure through bold lines – gives a great deal of depth. Did you set out to be so defined through line?
I think I naturally see shapes and lines and figures in the world that perhaps others don’t see. I really see intensity in both the lines that create the shapes and the lack there of. And I like to reflect that in my work, by having loose areas where the lines aren’t defined, and the paint extends past what is expected, but then also having really defined shapes / lines that play in that same space.
What materials were used?
All of these paintings are actually acrylic and oil on canvas. Acrylic first then oil on top.
How did you utilize what looks like canvas slightly unraveling?
I wanted to add a literal depth, something tangible, something that literally comes off the canvas but something that wouldn’t feel inconsistent with the rest of it. So each painting has both extra pieces of canvas glued on top as well as the strings ripped from canvas. And I liked that it was rough edges, I didn’t want there to be boarders. I wanted them to feel like it was unclear where it ended, because I think with home, there really aren’t clear boundaries.
How many pieces are in this series?
I painted the homes of 6 of my childhood friends, all of whom I’m friends with today. Each person has a color, and the titles reflect their last names. There are currently 18, 3 paintings of each home, 3 of each color. But I’m considering continuing this series a bit further.
What’s your method for starting a series and how do you approach it?
I think every series is different. This series actually started out completely differently then it ended up. I started working on these super large paintings about 8ft long, and then was working on these small ones on the side as kind of a procrastination. But I slowly realized that not having them stretched and just having the loose canvas pinned to the wall allowed for me to really be more free and intuitive with them so I started to hone in on that and began to love these even more than the large ones.
Memories transcend experiences.
Memories of friendship, laughter and pure imagination.
Memories of innocence, of youth, and of childhood.
Memories of home.
How to reconcile adulthood in a childhood setting. Finding yourself facing the nostalgia of something that perhaps never existed, never existed in the way it truly was. Frightened that what was gained while away, will be lost to just a memory while balancing this with the seductive familiarity of home.
This body of work explores the homes of childhood friends, and the structures containing those memories. The abstracted images of these structures show the internal conflict of never quite feeling settled, and never quite at home.