Moran’s abstracted landscapes often originate from quick line drawings made while moving through specific places, whether by car or foot. “Drawing this way urges me to stay present knowing that the moment will pass me by shortly,” she writes. Moran spent the last year living in Bordeaux, France, and her new series of paintings on paper originates from drawings made during her frequent walks through the public gardens. Once in the studio, Moran uses the line drawings as a framework within which she can explore colour and texture, letting go of the original geography of the garden altogether and instead approaching the composition as an abstract painting. The repetition of her walks along the same routes and paths mimics the formal framework that Moran utilizes in her abstraction, both providing parameters as a tool for slowing observation.