Sergio Mooro -
Rhythmic tension
2014.
Acrylic and oil on canvas on board
Triptych - each Panel 42cm x 93cm
Sergio Mooro -
Jump
1997.
Acrylic and oil on canvas
92cm x 120cm
Private collection: London
Sergio Mooro -
Angel
2015.
Acrylic and oil on Canvas
76cm X 90cm
Private collection: London
Sergio Mooro -
Enclosed
2018.
Acrylic and oil on canvas
110cmx 110cm
Private collection: London
Sergio Mooro -
Insight
1998.
Acrylic and oil on canvas
42cm x 50cm
Private collection: London
Sergio Mooro -
Breakthrough B
2014.
Acrylic and oil on canvas on board
Diptych - each Panel 42cm x 93cm
Sergio Mooro -
Counterbalance
2018.
Acrylic and oil on canvas
120cm X 120cm
Private collection: London
Sergio Mooro -
Twine
2018.
Acrylic and oil on canvas
120cm X 120cm
Private collection: London
Sergio Mooro -
Study No. 28
2007.
Acrylic and oil on canvas
42cm X 50cm
Private collection: London
Sergio Mooro -
Leap
2012.
Acrylic and oil on canvas
76cm x 90cm
Private collection: London
Sergio Mooro -
Through Red
1995.
Acrylic and oil on canvas
66cm x 87cm
Private collection: San Francisco
Sergio Mooro -
Naufragio
2015.
Acrylic and oil on canvas
110cmx 130cm
Private collection: London
Sergio Mooro -
Still life
1996.
Acrylic and oil on canvas
66cm x 87cm
Private collection: London
Sergio Mooro -
Mars
2001.
Acrylic and oil on canvas
120cm X 120cm
Private collection: London
Sergio Mooro -
Floating Golden
2003.
Acrylic and oil on canvas on board
42cm x 50cm
Private collection: London
Sergio Mooro -
Flow
1998.
Acrylic and oil on canvas
110cmx 110cm
Private collection: Fowey, UK
Sergio Mooro -
In movement
2007.
Acrylic and oil on canvas on board
42cm x 50cm
Private collection: London
Sergio Mooro -
Surge
2012.
Acrylic and oil on canvas
110cmx 130cm
Private collection: London
Sergio Mooro -
Icarus
1995.
Acrylic and oil on canvas
92cm x 120cm
Private collection: Singapore
Sergio Mooro -
Glacial Light
2001.
Acrylic and oil on canvas on board
42cm x 50cm
Private collection: London
Sergio Mooro -
Vedrana
2010.
Acrylic and pastel on board
Diptych - each Panel 42cm x 42cm
Info
About Sergio Mooro
Contemporary figurative artist, Sergio Mooro has sensed the compelling
urge to create from a very early age. Whilst for most early years learners
creating starts and finishes with much fuss/mess and general unruliness,
for Mooro the calling was more prosaic and considered. Although it did
necessitate the defacing of his father’s Encyclopedia Britannica, whereby
a young, free-spirited Mooro would while away the hours during his fifth
year on this planet with meticulously detailed drawings; inspired by the
vivid yellow paper special edition copy. Eventually seeing his etchings
discovered (and punished accordingly at the time for his artistic endeavors)
Mooro looks back on this instance fondly, insisting to this day that it
stood at his first lesson re: vocabulary in art. Essentially; urge, followed
by pleasure and pain.
Many years later, Mooro studied and practiced his art (on more socially
acceptable surface areas) at Madrid’s College of Fine Art, from where he
graduated with an MA, having specialized in the discipline of painting.
Mooro was adamant that he wanted to be a successful professional artist,
making a living from his passion from the outset, despite the initial setbacks
and hardship experienced. Firstly moving to Geneva so as to establish himself
as a contemporary artist, Mooro headed to Los Angeles when things didn’t
quite happen in Switzerland, seeking to collaborate with different art
galleries, whilst keeping things ticking over from a regular creative perspective
by painting backdrops and props for theatre groups in and around the city.
Mooro made it his business to work on an ever-diverse range of projects
and alongside a cross-section of like-minded people, which a lot of the
time necessitated a degree of jet-setting between mainland Europe and America.
But all the work and hours would eventually pay off, as Mooro continued
to gain meritable creative experiences across a wide spectrum of fields.
In 1988 he started his working relationship with the London-based Nicholas
Treadwell Gallery and moved from Madrid (where he at the time returned
to) to the UK’s capital city; itself a fast emerging creative hub going
through something of an artistic renaissance. Mooro cited the city as emitting
this unique energy, and where he felt that there was something extremely
creative afoot in terms of all major forms of the visual arts. As of 1991
Mooro decided to embark on a full time career in art, and it’s fair to
say he hasn’t looked back as he’s gone from strength to strength. To date
Mooro has fulfilled countless creative briefs and undertaken various commissions
including a mural design for the Elm Street Surgery; a building which received
an award for the best new building in 1997. Elsewhere and Mooro has worked
with the Hamburg City Ballet and the English National Ballet in conjunction
with the Dance, Movement and Motion Project in 1996, whilst The Cable and
Wireless College in Coventry was awarded 'Building of the Year' in 1994
by the Sunday Times and the Royal Fine Art Commission, for which Sergio
Mooro designed and created the glass panels.
By the end of the decade Mooro had touched base with Glyn Washington and
Paul Green, the head honchos for the UK’s leading art publishers, Washington
Green. After visiting Mooro at his central London studio and getting on
like the proverbial house on fire, it was however a further couple of years
down the line before they began working with one another. Recently Mooro
ceased working with W&G and took new business and creative challenges.
Talking about his particular brand of contemporary figurative art, Mooro
fervently believes that arm mirrors our fascination with life and what’s
going on around us at any one time, but more than that conveys a supreme
fascination with ourselves and the gift of one on society. Speaking on
the subject of which, Mooro proffers the following; “What continuously
intrigues me are the enigmas of our own nature. The human form, energy
and spirit are endless inspiration for me. Sometimes you have an image
in your head left over from a dream or a passing glimpse; these have the
ability to serve as a starting point for a painting”. Going some way to
elaborate this statement, Mooro suggests that he tries to neutralize the
figures and remove them from a particular time period, to make them more
mythic and timeless. Mooro; “So very often I find my shapes in practice,
not in the process of rigid preparation. The shapes are recognizable with
hints of body parts, but they remind us that we can go so much further….if
we desire”.
Explaining his approach and mindset to his signature works of art Mooro
implies that there’s a fine and delicately poised balance through which
he attempts to foster this interaction between the abstract forms and the
interconnection of human bodies. Indeed, it’s via the medium of the human
body that Mooro is perpetually trying to express himself, visually capitalizing
on the somewhat precise and deliberate juxtapositioning between aestheticism
and emotion. Citing the world of high fashion demanding that its disciples
should be moved and led by certain factors and categorically not others,
Mooro understands this to be the reason why even the most successful of
artists have no concept of whether their work is really any good or not,
and that essentially they will never have any way of really ascertaining
this.
Mooro frequents traditional methods but deploys them in a different way
from which they were originally formed. Like for example using an array
of tools including, quite literally, building tools, rollers and combs,
and proceeds to apply any number of mediums to his canvas; typically anything
which the tools were originally manufactured for – like pigment, paint
and dyes – albeit for very unorthodox purposes and end pictorial results.
This stems from Mooro’s university days, where he was keen to determine
just where certain techniques would take him and his work and more pertinently,
just that differing art materials could produce; constantly experimenting,
playing with substances, collecting different formulas, writing down possible
recipes. Referring to this as his ‘cookery book’, Mooro concedes that even
today he rarely uses purely manufactured products, instead twisting elements
to create his own recipes as such and as a direct result of which his career
has undoubtedly flourished to what it is now.