DG: Architecture seems to play a significant role in your work. How do you integrate architectural concepts into your artistic practice, particularly corporate architecture, and what elements of this kind of architecture inspire you?

SM: Absolutely. For me, architecture is not just a backdrop; it’s a central character in my work. I often start by analyzing the spatial dimensions and structural elements of a building or environment. This analysis becomes a sort of blueprint for my artistic exploration. I’m interested in how spaces can be both functional and symbolic. Corporate architecture fascinates me because it’s a form of power and control that we interact with daily, often without even realizing it. The way these buildings are designed—how they impose themselves on the skyline—says a lot about the entities they house. They’re designed to project a certain image, to convey stability, authority, and sometimes, even intimidation. I’m drawn to how these structures communicate on a psychological level, influencing behavior and perception without us being consciously aware of it. My work often explores these themes, dissecting the influence these environments have on our daily lives.

DG: It sounds like you’re looking at architecture almost like a collaborator. How do you ensure that your art complements or enhances the architectural elements?

SM: That’s right. I aim to create art that resonates with the architectural space rather than competing with it. My approach is to study the details—like the lines, shapes, and proportions of a building—and then use these elements to inform my artwork. The goal is to create a dialogue where both art and architecture inform each other.

DG: You’ve talked about color being a language in your work. How do you choose your color palette, and what does it signify in your pieces?

SM: Color is fundamental to my storytelling. I choose colors based on their emotional impact and their ability to convey particular themes or narratives. For instance, vibrant reds and blues might be used to evoke intensity and conflict, while softer pastels can create a sense of calm or nostalgia. The way colors interact, create harmony or discord, and evoke certain feelings or memories is central to my work. I’m fascinated by the psychological aspect of color and how it can guide the viewer’s emotional response and interpretation. In my practice, color isn’t just decorative; it’s integral to the meaning of the work.

DG: Modernism seems to play a significant role in your work. How does it influence your approach and style?

SM: Modernism is a significant influence on my work, both aesthetically and conceptually. I’m drawn to the clean lines, the emphasis on function, and the idea of stripping things down to their essence. But I’m also interested in how modernism interacts with contemporary life. We live in a world that’s much more complex and layered than the modernists could have imagined, and I like to play with that situation in my work. I might take a modernist form and disrupt it, add layers, or introduce elements that challenge the simplicity of the original design. It’s a way of engaging with history while also commenting on the present.

DG: Do you find yourself directly referencing Modernist works, or is it more about the ethos and approach?

SM: It’s more about the ethos. While I may not directly reference specific Modernist works, their spirit of innovation and abstraction informs my creative process. It’s about keeping that sense of exploration and challenging the status quo in my own work.

DG: How does film influence your work, particularly your exploration of narrative and space?

SM: Film is a huge influence on my work, especially in terms of how I think about narrative and space. Films create these immersive worlds, and I’m fascinated by how they manipulate space and time to tell a story. I often think of my paintings as cinematic—they’re about creating a sense of movement, a progression of ideas, much like a film. I’m also interested in the idea of the frame, how what’s inside the frame tells one story, while what’s outside suggests another. It’s about creating a dialogue between the seen and the unseen, the known and the unknown. Films like “The Parallax View” play with these ideas, and they’ve definitely influenced how I approach my own work.

DG: How do you see the relationship between your paintings and your films?

SM: My paintings and films are deeply connected—they’re different mediums, but they’re part of the same conversation. Both are about exploring space, time, and narrative, but they do so in different ways. In my paintings, I’m dealing with a static image, so the narrative has to be implied through composition, color, and form. In my films, I have the luxury of movement and sound, which allows me to explore these ideas in a more dynamic way. But ultimately, both are about creating a dialogue with the viewer, inviting them to engage with the work on multiple levels.