Mike Moran's Profile

About

Growing up by the sea fostered many an adventure and a deep respect for the natural environment. These experiences shaped my view of nature as an organic ever changing organism and something to be celebrated, protected and treated with respect. The work born from these experiences was guided by a fascination for societies who had learned to live alongside their environment in a sustainable way. From my point of view this is in contrast to contemporary society which endeavors to control and create boundaries between its manufactured environment and the natural world.

The photomontages come from taking pictures of fragments, the delicate beauty of a slender stem or the haphazard wreckage that surrounds our lives. At first glance they might seem negligible things to which no-one would normally pay no attention. Nevertheless, these fragments and details hold an intrinsic beauty and attract my eye. As…

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  • Joined January 17, 2008

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About

Growing up by the sea fostered many an adventure and a deep respect for the natural environment. These experiences shaped my view of nature as an organic ever changing organism and something to be celebrated, protected and treated with respect. The work born from these experiences was guided by a fascination for societies who had learned to live alongside their environment in a sustainable way. From my point of view this is in contrast to contemporary society which endeavors to control and create boundaries between its manufactured environment and the natural world.

The photomontages come from taking pictures of fragments, the delicate beauty of a slender stem or the haphazard wreckage that surrounds our lives. At first glance they might seem negligible things to which no-one would normally pay no attention. Nevertheless, these fragments and details hold an intrinsic beauty and attract my eye. As Leonardo wrote: “Artists should look into peeling plaster walls until they can see images emerging from the shapes of the plaster”. 
These randomly savaged parts are building blocks, catalysts for ideas and themes that very often lead me on journeys into unchartered waters. The aim is to form images that contain echoes and metaphors for my preoccupations: A world out of balance, damaged yet vigorous and beautiful.

Recently I have returned to drawing. Drawing is something I have always enjoyed and assigned a high value to. The simple tools and the ability to work anywhere really appeal to me after using a computer. The subject for this work is Crows, in many cultures a symbol of death and harbinger of apocalypse. To my mind they are clever, cheeky, a holder of intrinsic beauty and a joy to draw with their myriad of blacks. This is fed by a long-term interest in the Ted Hughes Crow poems, which parallel some of these ideas.

All my creative work has echoes and an indebted influence from a variety of artists, writers and musicians: Russell Mills, Vaughan Oliver, Joseph Beuys, Antoni Tàpies, Anselm Kiefer, Rick Poyner, Leonardo de Vinci, Samuel Beckett, Robert Wilson, Ted Hughes, R.S Thomas, Andrei Tarkovsky, Brian Eno and David Sylvian. These ideas and people have influenced all my creative output, from creating an installation work about climate change '27Kilos' to commercial illustrations and photography.

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