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 Encyclopaedia Britannica, whereby a young, free-spirited Mooro would wile 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 endeavours) 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 practised his art (on more socially acceptable surface areas) at Madrid’s College of Fine Art, from where he graduated with an MA, having specialised 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, yet the rest as they say, is of course, history.
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 intrigue’s 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 neutralise 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 recognisable 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 capitalising 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, 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.