Steve Moors is a British-American artist based in New York. He studied photography at the renowned
Newport School of Documentary Photography under Magnum photographer David Hurn, an
experience that laid the foundation for his lifelong engagement with visual storytelling. Over the
years, Steve has worked across multiple disciplines — including painting, illustration, art direction,
graphic design, and photography — forging a multifaceted creative practice that defies easy
categorization.
His current work reflects a synthesis of these influences: original, hand-drawn digital prints that fuse
traditional mark-making with digital rendering. The resulting images maintain an organic, tactile
quality while embracing the precision and possibilities of contemporary technology. His process
reflects a deep respect for both analog and digital forms, and a desire to explore the gray area
between them.
Steve’s work has been exhibited in both the United States and the United Kingdom, including as part
of a group photography exhibition at London’s Victoria and Albert Museum titled Exposure, which
featured photographers who contributed to the seminal British publication Blitz Magazine. He was
recently invited to exhibit in Personal Structures, an international exhibition presented by the
European Cultural Centre in Venice, held in parallel with the Venice 2026 Biennale.
His evolving practice continues to push boundaries, inviting viewers to reconsider the nature of
image-making in the digital age.

ARTIST’S STATEMENT

Through my work, I strive to bring together the multifaceted aspects of life experience as ingredients
for a fresh and exploratory worldview. I aim to present these phenomena in a visual language that is
focused enough to address a specific theme, yet expansive enough to carry meaning across cultures,
contexts, and personal histories. In essence, I see these works as contemporary visual sutras—
objects of contemplation that encourage slow looking, reflection, and reinterpretation. Each element
within an image serves as a seed planted upon viewing—one that integrates with the viewer’s sense
of self, stimulating and provoking a broader mindset.
My current series, Of a Familiar Nature, examines the uneasy interplay between the organic and the
constructed—the entanglement of natural systems and human-made environments. These digital
artworks, which are entirely hand-drawn, merge symbolic and structural elements into layered
compositions that evoke both biological growth and industrial design. Within these imagined spaces,
branches tangle with scaffolding, blossoms emerge from geometric grids, and birds and insects
occupy a world shaped by both instinct and infrastructure.
The series reflects on the ways we reshape the world around us—not as something separate from
nature, but as an extension of it. A city is no less a part of the ecosystem than a forest, yet our
interventions often come with unintended consequences. Of a Familiar Nature is less about
presenting answers than holding space for contradiction and inquiry. Where does adaptation end
and disruption begin? What does it mean to build in harmony versus dominance?
By combining meticulous hand-drawn detail with layered symbolism, these works invite the viewer
into a space that is both familiar and strange. They ask for a slower kind of engagement—one that
leaves room for multiple interpretations and emotional registers.
In a time of rapid transformation and environmental anxiety, this work seeks to explore the
connections that persist beneath the surface: between human and habitat, between memory and
invention, and between what we inherit and what we create.