It’s an early Monday morning in Emeryville, CA when designer and art curator Lauren Geremia settles into her studio. She shuffles around her moleskin notebooks with a few open pages, revealing her client color renderings from last week. She takes a seat and before saying anything, takes a sip from a mug. “I never know if I make sense in the morning before coffee,” she laughs.
Outside Geremia’s office door, you’ll find a wall filled with hand-drawn sketches, 2-D images and some of her favorite collected artwork of about 30 thriving artists. “It is very important in my life that I have information, stimulation and education,” Geremia said. This makes sense, as Lauren is known for her unique approach to projects that combine old-school sensibilities, an art education core and a plethora of artist relationships to curate from.
Geremia is vibrantly driven, energized by her work and constantly evolving. Naturally born with artistic ability, it’s Geremia’s talent as a true visionary for art beyond her own craft that casts her principal roles as a designer, art curator and educator into a compelling piece of choreography. In the same way the tech industry has made major links and bridged gaps in technical innovation, Geremia is making strides in artistic innovation from the other side of the spectrum. It is through her final piece, her lasting design product that she establishes a symbiotic synergy between the unexpected marriage of thriving art and design to technology.
What drove you to change mediums from fine painting to interior design?
“The base of my painting degree at RISD was very conceptual. Within it’s loose structure, I was not forced to paint all the time. I had room to play with vast mediums. I could sit in my cubicle and gradually explore products, different ways to use facilities, and develop textiles. I figured it didn’t matter what medium, I just wanted to be around the community of real artists immersing in those types of conversations while making, designing, and collecting art.
Interior Design has given me the platform to talk about art, color, furniture, textiles, and textures. It is everything I like to make and think about, so I can’t say my migration to Interior Design was an intentional change but it did fill my rooted artistic needs on a much broader spectrum: more people, more aspects, more versatility.”
Talk to me about your multifaceted creative approach.
“I live hard, really; I like moving, traveling, meeting people and having intense conversations. I dive deep into things and my interest is always changing and evolving. Emotionally and mentally I can’t really do things over and over again. I don’t over focus on one thing so I can move into different facets and find reasons to love it, hate it and perfect it. My aesthetic is what it is. A play on eclectic and contemporary but much more conceptual than that. I create a formula for a look through more emotional driven context. I take interest in investing in the contemporaries and supporting what is going on in the world of innovation and design now. I get to explore my own interest in design because of my clients. As a collector myself, and my knowledge of the gallery circuit I can facilitate my clients needs while facilitating my interests and supporting artists as the third party.”
Do you think interior design, is the best platform for you to explore this collaboration and ability to surface independent artist work?
“It’s easy to define a room through artwork. In my work, it serves as a very punctual, bold element. With honest representation of my clients’ desires, interests, and ethics it is easy to connect a mission space of an artist that has already been drilled down based on client needs. I use artists’ different ways. For example, we commission a jeweler to create metal plates to be installed on the wall like wallpaper. It’s a spotlight in an unexpected way that plays on their skill set.”
What are your go to galleries and artists currently when looking to purchase work?
“On the gallery circuit, I am currently loving Regen Projects and Acme in Los Angeles, Salon 94 and Yossie Melo in New York, and Jessica Silverman in San Francisco.
On the artist front, I always want to add to my personal, clients and friends collections when I feel connected to the piece. I make the purchase if I believe in the longevity of the artist’s career and feel it is a good investment.”
Do you think building your design studio in the hub of the Silicon Valley, an innovative, cultural and artistic melting pot, has afforded you lucrative fluidity to explore and represent the voices of independent artists in your work organically?
“San Francisco has definitely played a part. A lot of my clients are young, and want to know about new artists. They desire to be connected to someone who can bring them artists because they are so focused on the technical side.
As an artist myself, I also look at the worldwide affect on the scope of art and perspective on design. Because technology has allocated a shift in convenience and efficiency, I have to come up with a unique perspective that is still budget conscious. The tech world has bridged accessibility. I can be in Paris in the click of a button, move through design with access to more information which has helped me leap toward more career milestones. It is because of the integration of tech that I have been able to build a career in design without specific education or licensing. It has enabled me to build a community and family in the art world that would not exist to the magnitude it does now.”