Rebecca Erin Moran’s (1976) practice is process driven, seeded from the sensory interactions of everyday life. It is an open system, it is fluid, it rests on a curve of potential and uncertainty; a feminist perspective on surface, touch, and intimacy. In her recent research into the backdrop as void, she aims to turn blank space into specific place. In the photo studio, a backdrop is a physical object but in the finished image its materiality is usually erased. In the work Feeling Emulsional the backdrop focuses on the surface itself, a tactile work that photographically “develops” during the fair.
Artist is presented by FLURR.
