Today we’d like to introduce you to Sergio (Surge) Witrön.
Every artist has a unique story. Can you briefly walk us through yours?
When it comes to the Arts, exposure is a key factor in accessing its ecosystem. For my personal experience I would say it was rooted in exposure to culture, tradition, celebrations, education, and environment. Art for me is creating something bigger than myself, not just physical but the idea of expanding my voice. The earliest memory I have of creating art was drawing on my parent’s walls as a child. This act of defiance and use of untraditional surface to paint on or draw on was somehow freeing. Instead of scolding me my mother ended up mounting a roll of butcher paper on the wall. She encouraged me to draw on that surface instead of the walls. She didn’t try to change the child or the process but the environment. It really does take one person to be “The Change,” in a child’s life. For me this was my third-grade art teacher Ms. Wong. She saw the talent that I did not know I possessed. With her guidance I tested as a “GATE” (Gifted and Talented Education) student. Due to this acknowledgement I was able to really explore the Arts without barriers. When it came to college I went to school for Botany which later changed when I met Chris Trueman at Fullerton. During this time through his mentorship and guidance I was able to really understand my process and I was exposed to the LA Art scene. From assisting Christopher Kuhn to finishing school at Arizona state. I understood that I had to make the move and start my career and practice in Downtown LA. ,
Please tell us about your art.
When it comes to painting, I didn’t become a painter to do nothing else. I paint to express my voice and the things that come with it. My work tends to be observational and documentary. I make large acrylic gestural abstract painting. My personal interactions of space, time, engagement and my surroundings are my sources. When it comes to scale I work with large frames which sometimes surpass me in stature. I work on wood panels specifically due to its ability to adhere to its environment. It tightens during the cold winters and expands during the scorching summer heat. This organic material addresses its ability to adapt. I approach my paintings as gesture mark underline paintings. Using unconventional tools such as squeegees and Starbucks gift cards to create marks. Building multiple layers of fluid marks and gestures, shifting the composition, applying acetone to uncover the previous mark or history of the painting. My work is very transparent in the way I interact and engage with my space. I’m inspired by my surrounding environment. The downtown environment addresses this with the noise, constantly booming to the changes in the landscape, the people that I met and interact and engage with. This untamed energy has fascinated me through my life as a child, as a visitor and now as I’m partaking in its ecosystem.
What do you think about conditions for artists today? Has life become easier or harder for artists in recent years? What can cities like ours do to encourage and help art and artists thrive?
When it comes to conditions. I would say social medial has made it more transparent in our process. Good or bad it usually triggered to accessibility, affordability to creative spaces. Artist need spaces to create. What cities could do is either fund projects or partner up with collectives and make these spaces sustainable and expand.
How or where can people see your work? How can people support your work?
You can find my work in and around LA, or in my Insta Feed or stories @surgeinabotttle. My Art studio is in Little Tokyo in downtown LA. The doors are always open for a studio visit.
- Phone: 7147167328
- Email: firstname.lastname@example.org
- Instagram: @surgeinabottle