Introducing: Laura Sirvent

Tell us about yourself… what’s your story?

Hi! I’m Laura an animation director based between Barcelona and my hometown, Elda.

Since childhood, I’ve been fascinated by technology—I used to install programs and games on my father’s computer, sometimes breaking it in the process, which only made me more curious about how things worked. Later, with a home video camera, I discovered filming and video editing, realizing that I could tell stories and turn them into small movies. My childhood and teenage years were filled with technology, experimentation and discovery.

I decided to study multimedia engineering, a degree that combined technology and creativity, focusing on audiovisual media, web, and video games. I loved it because it answered many questions I had always had, especially about how the programs and games I enjoyed were made. I learned to program and discovered that coding is not only functional but also a creative and artistic tool. I found inspiration in artists like GMUNK and Quayola, who combine technology with art in innovative ways.

After university I took a 3D animation course in Barcelona. It was a different challenge, more focused on creativity, ideas, and storytelling. While I enjoyed the process, I realized that I felt freer in technology, whereas in the world of ideas, I sometimes felt constrained. However, I understood the importance of having a narrative goal in any creative work. I learned to model, animate, and light scenes, and I was drawn to the idea of creating something from nothing, making it look tangible with just a computer. That’s why my visual style has become closely linked to tactile materials and rounded proportions. I was inspired by studios like Pixar, Disney, Buck, Animade, and ManvsMachine, as well as freelance artists who developed their own style while working on commercial projects, such as César Pelizer, Zigor Samaniego, and AJ Jefferies.

My first work experience was programming mobile applications but, soon after, I decided to take the leap into freelancing, collaborating with animation studios and developing personal projects, which helped me gain recognition on social media. Over time, I have grown as a freelance creative, working on various projects, with studios like Animade, Moth, ManvsMachine and brands like MTV, Ikea or Pepsi. A key moment in my career was co-directing the production of an advertising campaign (Hellowork 2022), which allowed me to explore new professional aspects and gain confidence in project direction.

For some years, I set programming aside to focus on 3D, but recently, I have returned to it, exploring 3D on the web and procedural music. I am passionate about the idea of combining my two interests—creativity and technology—to develop interactive experiences that convey deep or simply fun ideas. My goal is to continue growing as a 3D artist and directing projects that make me proud, where I can seamlessly merge both worlds in a meaningful way.

Is there a project that challenged your usual way of thinking? How did it lead to a transformation in your artistic approach?

In advertising, tight deadlines are part of the game. While they don’t always leave room for deep exploration, they do push me to make quick decisions and deliver my best work right away. Plus, every project with a client or studio teaches me something new—whether it’s a more efficient workflow or a better understanding of how directors shape their creative process. On the other hand, personal projects are a different kind of challenge. Having unlimited time can make goals feel blurry, ideas constantly shift, and finishing a project becomes harder. It takes a more agile mindset to set limits and actually complete things.

To help with that, last year I started a series of Personal Pitches, where I developed key illustrations or even full animations based on ideas I wanted to explore. To stay focused, I gave myself a strict time limit—each project had to be completed in a week or less. That’s how projects like the Gibson guitar rework, Supermarket Nightmare, and New World Monkeys came to life—giving me a structured way to push my creativity while making sure I see each idea through.

Your art exudes a sense of warmth and intimacy. How do you incorporate personal narratives or emotions into your pieces to create that vibe?

I love paying attention to the small details. I have a strong sensitivity to what’s happening around me—not just in the bigger picture, but in very specific things. For example, when I observe people on the street, I notice their facial expressions, how they dress, and what they carry in their hands. It makes me imagine their stories, what they’re doing, and what they do for a living.

I also enjoy noticing objects—their shapes, their function, and what they represent to people. For instance, putting a sofa protector on makes it less aesthetically pleasing but more practical. I find these details fascinating because they show how people balance aesthetics and functionality, adapting their environment to their needs.

I have an internal game when I walk down the street, trying to figure out what stands out the most when I pass by someone—whether it’s their wide-open eyes, a unique hairstyle, or a specific piece of clothing. This exercise started when I was studying character design on my own, and I became a bit obsessed with it.

I’m also drawn to the everyday. I don’t connect with fantasy or stories set in worlds far removed from reality. Movies like Manolito Gafotas, Barrio, Perfect Day, or El Milagro de P.Tinto are some of my favorites precisely because they are so grounded in reality. I believe being able to extract these everyday details—whether from people or objects—is what makes my pieces feel personal, warm, and intimate.

We love your Dancing Boss project! What inspired it/what did you enjoy most about combining the technology with the animation?

I'm so glad you like Dancing Boss! This is the first project where I truly combine programming with my knowledge and experiences to create something people can actually use. I find these types of projects incredibly inspiring and motivating.

What drew me to create Dancing Boss was the idea of making something multidimensional, combining music, visuals, and interactivity. I started with the idea of creating a character that would react to the rhythm the user wanted. From there, the idea evolved into making him an office boss, dancing to music inspired by 80s-90s house and techno.

The project grew organically. I started asking myself questions like: what if each percussion element made a part of his body move? For example, what if the kick drum made his hips move, the snare made his neck rotate, or the bassline made his legs or arms move? This made the dance unpredictable and fun. I became really hooked on improving the functionality, like adding randomness to the notes and chords that played, researching which specific chords and progressions make the music sound like house music, or allowing users to share their creations. When you create a visual animation or an illustration, that piece is unique based on the decisions you made, but when you create something interactive, the same piece can have many completely different versions, and that's what excites me most about these types of experiences.

As I mentioned before, if it had just been a character dancing without context, it would have been less fun to watch—or at least less deep and meaningful. But by making him an older office boss, dancing in his office in front of his employees, yet not letting his expression reveal he's enjoying it, the contrast becomes humorous. In the end, the narrative of the project takes on more importance than any amazing technique.

What rituals or routines do you engage in to bring inspiration and maintain a fresh perspective in your artistic practice?

I’ve always believed that the more I learn, the more it unlocks the ideas I can have, or at least helps me understand how far I can go. I trust that, even if what I’m learning is far from any artistic expression, it will spark a lightbulb moment, or at least I’ll enjoy the process so much that it will enrich my ideas.

I tend to get obsessed with specific topics and gradually dive deeper into them. For example, last summer I was researching microcontrollers to program small objects that do things. As I unlocked that knowledge, creative ideas started to come to me, like creating small musical instruments, synthesizers, or simply electronic toys with little screens and speakers. I think I’ve always been like this, not just with technology. I love immersing myself in a specific world, whether it’s biology and the theory of evolution, ceramics, history, or a musical style.

What’s your favourite thing about being part of a creative community?

What I love most about being part of a creative community is how it constantly inspires us. It’s like teamwork, where each of us contributes something. I have to admit that I’m a shy and introverted person, and that sometimes holds me back from communicating as much as I’d like with others in the community, but I do my best. However, when I manage to attend creative events like OFFF or chat with someone related to what I do on Instagram, I always feel really positive. Sharing experiences is essential to avoid feeling isolated, especially when you’ve worked as a freelancer for most of your career, where working solo or remotely is common.

In fact, I’d love to be more consistent in sharing what I do, not just the final piece, but the whole creative process or what has inspired me lately. I’ll make an effort to do so, as I believe it could serve as inspiration for the rest of the community.

Lastly, any dream clients or types of project?

As you may have noticed, I’m really connected to technology, so I’d love to lead or be involved in projects that involve technical challenges and a strong focus on user interactivity. The idea of creating experiences that engage users in innovative ways is something that really excites me.

I also take pride in my work with characters and their tactile feeling, so I’d love to continue working on projects where I can design and develop unique characters. It’s always a rewarding process to bring them to life and make them relatable.

In terms of clients, I dream of catching the attention of brands like Apple or Teenage Engineering.

>>> See Laura's work here <<<