Design and editorial production for the New York Campaign for Abolish Nuclear Weapon’s and Youth Arts New York reading guide to accompany Koyaanisqatsi: Phillip Glass Ensemble Live at The Town Hall.
Co-written with members of NYCAN
Photography by Aaron Bengo + Sean Davidson
Advertising and branding components for social media, bi-weekly newsletters, and website
Spring update for website relaunch and social media marketing
Images for Glitter Stick and Mini Lipstick launch
@okokmoran
Moran Smithwick is a London based writer, art director, and designer. Her socially-informed practice engages with ecofeminism, hydrofeminism, wet ecologies, and alternative knowledge. Centered at the coastline, Moran’s current research works to uncover alternative temporalities through sensorial investigations that confront colonial constructions of borders and time. She is a recent resident of Onomatopee, where she hosted workshops such as “Making Time: Exploring Risograph Printing Methods for Material Meaning.”
Moran earned her masters in Design Expanded Practice at Goldsmiths University of London with a concentration in Cultures & Ecologies.
MA : Design Expanded Practice
Culture and Ecologies
2025
Pratt Institute
BA : Critical and Visual Studies
2018
Moran Smithwick Design
Past clients : Nobel Peace Prize award winners International Campaign to Abolish Nuclear Weapons (ICAN), the New York chapter (NYCAN), Second Meeting of States Parties to the Treaty on the Prohibition of Nuclear Weapons
Ecommerece Producer
Craighill
2022 - 2023
Ecommerce Manager BEAM
2021 - 2022
Ecommerce and Content Director
Prestidge Beaute Active Organics
2019-2021
Ecommerce Creative Manager
M.PATMOS
2019 - 2020
Graduate Thesis Show
Project Manager + Exhibitor
Self published book, archive proposal, installation, soundscape
Risograph , foil blocking, binding, pewter, steel wire, sand, fossils, rocks
Soundscape: Field recordings, audio
Slippery Coasts is a collaboration with the coastline of the United Kingdom. Engaging research in hydrofeminism, wet ecologies, and alternative temporalities, Moran confronts the colonial construction of borders and time. Through sensorial investigations of the coast, Slippery Coasts converses with the archive written into our planet's surface, and considers the sea as a force of change and a container for life. This project is about dissolves, erosion, and extinction.
Slippery Coasts asks: How can coastlines teach us about planetary change and the deepness of time? How can we engage with the Earth’s archive through fluid methodologies?
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Wood, metal, fabric, hose pipes, found materials
An installation that combines fungal ways of being, entanglement, fairy rings, and polyphonic soundscapes
Participants become a fruiting body of the fungi and are guided through an experience where they work together to harmonize with the soundscape. The mushrooms work collaboratively through play, ritual, body movement, sound and the physical connection of the pipes pulling them into close listening and connection. They play instruments and respond to rhythm for movement. The mycelium - the hose pipes - carry these sounds physically, and the soundscape and meditation play digitally. The voice carries the group through a practice of deep listening, and teaches our guests about the entangling of all life as they play. The literal entangling of the maypole fungal web pays homage to our ecological symbiosis, with ourselves and the living earth.
Threads of Gossip proposes a need to archive queer signaling and semiotics in the post-lockdown digital age. Inspired by a group chat titled "gossip," this project materializes interpersonal practices cultivating intimacy, curiosity, creativity, and care.
Celebrating the resilience and adaptability of queer kinship networks, “Threads of gossip” proposes the ephemeral and personal as vital queer histories. By reframing and experimenting with queer tradition, this project challenges conventional notions of archiving, offering a radical vision of how digital spaces serve as contemporary queer sanctuaries amidst oppressive forces.
Drawing from alternative knowledge systems, we questioned constructed understandings of time and investigated how it is felt, remembered, and imagined through our earthly experiences. We spent the morning discussing time as a design method. During this conversation, I introduced prompts and ways of archiving temporality. I introduce theories of earth time, deep time, kinship time, queer time, crip time, and more ways of understanding, interpreting our world by thinking differently about time.
Through layering and the materiality of the risograph, we gave form to pasts, presents, and possible futures, tracing how time flows through and around us. The texture and transparencies of color allowed for time to be intermixed, rewoven, and we spoke about the hierarchy of those layers and how they might lend itself to the meaning of the print.
This double-sided print is a piece in the collaborative zine: What If Utopia Is Not A Place But A Rhythm.
The outer page is a watery space that asks viewers to reimagine a utopic world as a fluid space. A space to float in and uncover the continued cyles of time. It allows for water to take over the human-made, and understands a utopia to be an existing space with our entangled wet worlds.
Bound with the inner page hidden, this single-color red print hides human extraction, invites a reimagination of scientific interpretation, and contains within the spirals of the natural world as a reiunderstanding of fluidity.