New Works / additions to the shop November 2021
New Works
/November 2021
I’ve just released some brand new paintings for sale which are available to be purchased online.
Available to purchase online, or in-person from me by booking a private studio view
My 2021 latest paintings continue the work last released in 2020. By continuing the practice where I left off I’m pursuing a strand of work and exploration that has come from my body of work which is about an amplification of the experience of colours, layers and planes of the painting surface into three-dimensionality, enhancing the vibrance, brilliance and clarity of colour.
While the previous works explore a range of ‘canvas’ materials such as perspex, these current works are painted onto natural duck cotton which not only shows this beautiful natural flecked canvas in contrast to the fluorescents, but also complements the tone and enhances the tones and visual effect of the planes of colour.
By working to a smaller scale, I am able to experiment more wildly with energetic compositions and dynamics within the work and it enables me to take risks.
I retain an exhibiting body of work of my practice, to be able to share my work with more people. While not all of my works are for sale, I have made these new works available to buy through my website, and I accept commissions for work in this practice.
More about my current works in this decade
My close focus to the material of the paint and the canvas as being ‘as one’ continues to be a theme within these works, but adds in the additional aspects of light and the viewer, lifting the viewer bith physically and emotionally as they feel the ebergy of the work.
Through the exploration of the properties and abilities of paints to their most clear and luminescent ability, by using fluorescents, pastels and clean, pure colours, I aim to feel uplifted by the paintings and to share that energising impact of colour with the viewer. The paintings seem to glow and emit light bringing the colour to its highest light emission, in parts casting light out and off the canvas, bringing the focus on colour both into the painting plane itself yet also to its’ surroundings, and also showing the ability of paint with material (particularly in relation to pieces made from acrylic) to itself create light.
The ‘canvas’ both interacts with the paint as a layer itself, and provides the physical layer on which the paint can sit and perform to a great degree. By seeing surface textures through sheer veils of paint or heavy elevations in the paint application, we are reminded of the process of painting and the physicality.
By bringing the paint layers out from the ‘canvas’ we are able to experience two dimensions in a three dimensional way, in opposition to enclosing the three dimensions into a two dimensional illusion. We feel and we experience the energy that has been given by the artist to the piece through the process of painting which brings the painting into reality and this is reflected back at us.
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Private Art Studio Visits
Welcome back to private studio visits!
I’m so excited to be able to welcome you back to private studio visits! After the devastating fire at Krowji and huge periods with restrictions on opening up workspaces, and with Open Studios cancelled for the second time, I am keen to share my work with you.
An art studio visit is the perfect way to view art and get to know the artist, their work and processes and the ideal environment in which to view and buy art. Dealing directly with the artist you can see uncurated back catalogues, pieces that haven’t been published and really get a feel for a piece and experience it.
Getting the full creating experience.
My studio contains work in progress, reference pieces, finished works that are set aside for exhibiting or professional development, plus works that I am ready to release. In my environment I enjoy telling people about processes and demonstrating how my work comes into being.
What to expect when you visit my studio.
In my own creating space it’s a relaxed environment. At present we have to adhere to social distancing, wearing masks and hand sanitising, but through Open Studios and my recent exhibition this has become easier to manage. If you’d like to learn more there is a section in this article about Covid protocol at Krowji. I’ll make you a coffee, we’ll chat about my work and if you’re interested, there will be some work available that you can buy including my ply panels, gloss paintings, larger oil and acrylic paintings, giclee art prints and Christmas baubles. What’s for certain is that you might see something that isn’t on my website or the online shop
And if I want to buy something?
I’ll pack it and you can take it with you, or if it’s bigger we can organise delivery. We can discuss commissions too. I have card payment facilities, invoicing/ bank transfer, PayPal and other payment options.
So book a studio visit and see what might inspire you!
Book a studio visit by sending me a message below.
Large scale abstract paintings
Large scale abstract paintings
Through large scale paintings, I am able to heighten the experience of colours, augment the dynamics of layers and planes of the painting surface so that they are experienced, and enhance the vibrance, brilliance and clarity of colour.
My large scale works hint at something more immersive and enveloping, captivating the viewer through their relationship with the impact of not just the way they experience the light through the colours, but in their emotional and sometimes physical response to the radiant energy emitted which is uplifting and energising.
You might like..
New Giclée Prints for sale
I’m very excited to have picked up these high quality giclee prints from the printer of a few of my large scale paintings this afternoon!
These have been professionally printed for me using 11-colour Ultrachrome HDR inks on OLMEC bright white smooth paper to achieve the greatest reproduction.
They are available in A1 & A3 and there are 3 different prints available (and other sizes to order on request).
I’ll have added these to the website shop in time for #smallbusinesssaturday, 5th December and they are available for delivery or collection from my studio at Krowji.
Book a studio visit.
Prints and paintings are all available to view at a private studio visit. Please email me or get in touch here.
You might like..
Untitled [blue and white with flow]
£1,500.00
Untitled with Disruption
£1,500.00
Travel candle
£20.00
Gaia Eco cushion
£78.00
Cotton linen cushion
£78.00
Velvet cushion
£58.00
New Works / Trudie Moore Exhibition October 2020
New Works
/October 2020
An exhibition of painting and installation
Join me for my solo exhibition of new works created during my residency at Gray’s Wharf in September and October 2020, and of key works from the last 12 months.
On show at Gray’s Wharf Gallery from Tuesday 13th – Sunday 18th October 2020
My 2020 solo show is an exploration of my abstract painting into installation, an amplification of the experience of colours, layers and planes of the painting surface into three dimensionality and enhances the vibrance, brilliance and clarity of colour.
With the aim of using my residency at Gray’s Wharf to push the boundaries of my practice, I have used the space to stretch out and expand in size and concept. Through use of the light and airy space awarded by Gray’s to me, I have been given mental space, time, physical space and opportunity for reflection and deep focus.
Together with the team at Gray’s Wharf, we would like to invite you to visit, experience and be surrounded by new works produced during the residency, along with a few other key pieces from the last year which have been produced exploring the same key themes of luminosity, material, process, composition, technique and colour.
My new paintings explore a range of painting surfaces including natural canvas, acrylic and wood, at times creating three dimensional installation pieces which bring close focus to the material of the paint and the canvas as being ‘as one’.
Through the exploration of the properties and abilities of paints to their most clear and luminescent ability, by using fluorescents, pastels and clean, pure colours, I aim to feel uplifted by the paintings and to share that energising impact of colour with the viewer. The paintings seem to glow and emit light bringing the colour to its highest light emission, in parts casting light out and off the canvas, bringing the focus on colour both into the painting plane itself yet also to its’ surroundings, and also showing the ability of paint with material (particularly in relation to pieces made from acrylic) to itself create light.
The ‘canvas’ both interacts with the paint as a layer itself, and provides the physical layer on which the paint can sit and perform to a great degree. By seeing surface textures through sheer veils of paint or heavy elevations in the paint application, we are reminded of the process of painting and the physicality.
By bringing the paint layers out from the ‘canvas’ we are able to experience two dimensions in a three dimensional way, in opposition to enclosing the three dimensions into a two dimensional illusion. We feel and we experience the energy that has been given by the artist to the piece through the process of painting which brings the painting into reality and this is reflected back at us.
Details for the exhibition and private view:
13 – 18 OCT 2020
TUE – FRI / 10 AM – 6PM
SAT / 10 AM – 5 PM
SUN / 11 AM – 4 PM
PRIVATE VIEW: THU 15 OCT / 5.30-9PM
BOOK HERE
Where to find the show
Grays Wharf
Commercial Road
Penryn
Cornwall
TR10 8AE
About my paintings
My paintings use fields of colour, transparencies and opacities that act as both a visual and an actual layer over one another, and which are layers upon the surface layer of the canvas.
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Naum Gabo at Tate St Ives 2020
Naum Gabo at Tate St Ives 2020
The Naum Gabo exhibit at Tate St Ives started in March this year and has been extended to run until this September. I went along in early March and here are my takeaway impressions and some photos of what you might expect if you have a chance to visit.
We are so lucky in Cornwall not just to have an amazing local wealth of creative and artistic talent locally, and an immense history of modern art in the area, but also to have facilities like Tate St Ives to visit ‘on a rainy day’, to stretch the mind, educate and inform us without even leaving the Duchy (County to you and me!).
When the Naum Gabo exhibition in St Ives started in early spring I went along with my (slightly short attention span and tantruming throughout the exhibit) son to take it in.
My visit was, as such, quite short and so will be the information in this blog as a result, but short turned out to be very sweet. I found this was an exhibition I could go to see, learn and enjoy immensely, because the work here is very fast to comprehend and enjoy. Even if you look at it in amazement for the sculptural skill, visual impact, mathematical precision and calculations, or, as I did, the complete surprise surrounding the manufacturing techniques available in the era, you can be impressed by the forethought and modernity of it that still makes it feel futuristic and timeless today.
His work combined geometric abstraction with a dynamic organization of form in small reliefs and constructions, monumental public sculpture and pioneering kinetic works that assimilated new materials such as nylon, wire, lucite and semi-transparent materials, glass and metal.
Two preoccupations, unique to Gabo, were his interest in representing negative space—”released from any closed volume” or mass—and time. He famously explored the former idea in his Linear Construction works (1942-1971)—used nylon filament to create voids or interior spaces as “concrete” as the elements of solid mass
Source: Tate/ Wikipedia
What I enjoyed about Naum Gabo: Constructions for Real Life.
The first extensive presentation of Naum Gabo’s sculptures, paintings, drawings and architectural designs to be held in the UK for over 30 years
Tate St Ives
I didn’t know that Naum Gabo had lived in Carbis Bay during WWII and been considered one of the St Ives Artists. This felt great to me as it drew a link for me between the location in which I now live. I have a pull towards the geometric visual style in my paintings, and the relationship of the three dimensionality in this sculptural work that resonates with the three dimensional direction I am currently taking in my own work. I could feel a connection with the sculptures and plans. I can feel the organic
I made a mental note to myself to look up: Hyperbolic parabaloid, tensegrity structure and history plastic manufacturing (although these days I’m researching more into plastics re-use)… and you might add to that Constructivism (and give that to your child to do as homework for the school holidays!).
I couldn’t believe how well some of the pieces have survived – the geometric acrylic sheet sculptures that have remained in immaculate condition are nearly 100 years old. You could be mistaken for thinking they were made in the 1970s, influenced by Star Wars or some other space odyssey, but in fact perhaps the reverse is true, perhaps films and architecture drew on the work of Naum Gabo as the innovator.
The precision of the hyperbolic paraboloids, the mathematical calculations that went into them and the precise execution of the pieces. The hyperbolic paraboloids make for beautiful sculptures which are perfectly hand tensioned, each string or wire having the same degree of tension.
For me this is a stunning exhibition, beautifully presented, amazingly well preserved and extremely educational and inspirational. If a 3 year old can lie on the floor having a tantrum because they don’t want to leave, that’s a good sign for taking older kids or the rest of your family along.
Latest painting, May 2020 - Untitled
Untitled – [Red stripe with white and pale yellow pastel layers].
I have just completed this painting, it went on hold during lockdown and so the latest layers went on this week.
I have been trying to articulate how some of the transparencies I created on the ply box would translate onto canvas variations. The canvases I order are primed with a white primer, I don’t use rabbit skin glue because I refuse to be involved in animal cruelty as a consumer. So until I find an alternative, this gives me some limitations on how I use the paint when I translate it to canvas. There needs to be an addition of a colour to give the white transparencies something to show up against. The layers in this painting are extremely delicate and hard to photograph to show correctly and the studio lighting is overhead so that makes this task harder.
Hence I have chosen a pastel yellow made from combining fluorescent yellow and white. It’s become an essential part of the painting, not just a layer to form the underlying structure, but also a divider between two layers of ‘leaves’ of transparencies.
There is a rhythm througb the layers from canvas to the upper layers, a sequencing. The layers move outwards / forwards from the base canvas layer through pastel yellow, then white then yellow, they are intersected by the almost three dimensional red line (which itself wraps around the canvas and onto the sides) and the layering of white continues on top of this to seal it in.
If this were expanded out three dimensionally as panels they would be delicate, soft sheets. You could imagine walking through hanging layers or planes of space.
Around the edge to the top right there is a red triangle ‘tag’ device that would link this painting to the next, it’s a feature that has come from the previous studies on ply and the box where the elements of the paintings touch together.
All images © Trudie Moore
Current themes: transparencies, opacities, paint edges, material performance, three dimensional planes, lightness and freshness of colour, purity and expansion to create space.
Trudie Moore 2020
Transparencies and subtleties in my latest painting.
I’m in the process of developing a bigger, three dimensional body of work that expands planes and dimensions within my paintings. Materials are important to me, as much as colour and so I am investigating how the two work together to ensure the surface has an importance in the piece.
A piece I completed around Christmas starts to move into a much more three dimensional space. I enjoy working with materials that have a character of their own which brings a deeper concentration to the planes within the work. Ply has proved to be not just an appealing material with the natural wood grain contrasting with the plasticity and synthetic surface and colour of the paint, but it’s also a good, resistant and smooth surface that gives clean edges and sharp lines and a smoother surface to the paint.
So this has opened up for me various avenues I am exploring, how ideas translate both onto canvas and ply (and other potential materials) and how the elements within the paint itself work with the surface.
In terms of the paint application, there’s an ability with acrylic to create super sheer, delicate layers that can increase and increase in density and be built up to an almost plastic layer which sits elevated on the surface
Untitled [Three dimensional box in ply] .
Amplifying the surface more extremely is an experiment I have been making. My deep frame canvases haven’t been deep enough to carry out the ideas I have been trying over the years and so this three dimensional box is the substantial iteration of that. From the smaller preceding ply studies there were planes of colour that were moving across. This is the next step on where the elements go around the sides and over the top – an element of wrapping the object as well as unfolding around it.
There is a stage on from this of exploring both ‘the material of the canvas’ and ‘the material of the paint’ as separate yet combined elements which constitute the painting.
All images © Trudie Moore
Supporting studies .
The studies below experiment with concepts in the pieces above, some are tests, some are works in their own right.
Alongside my fine art practice I undertake commissions and sell existing work. You can find out more here, or learn about the Artist Support Pledge.
Gray's Wharf Residency September - October 2020
My big news for 2020
I’m delighted to announce that In September 2020 I’ll be taking up a fabulous opportunity for a Residency at Gray’s Wharf Studios in Penryn, Falmouth.
For 6 weeks I’ll be occupying this beautiful studio on the river with support from Naomi Frears.
There is so much development and progression I think it’s going to bring to me and I’m really looking forward to in depth discussion around my work and practice and the opportunity to advance.
We aim to enable artists to develop their practice by providing a space to explore concepts, experiment with scale and materials, test ideas or take a new direction. We offer a supportive, professional creative community with 20 practitioners based in individual and shared studios as well as additional gallery and events spaces.
I’ll post more through the website about my aspirations and plans for this, but for now, it’s still sinking in (and I have some planning to do!)
POP TO THE SHOP!
Christmas baubles now on sale!
Discover my range of artist edition baubles now on sale in my shop!
To mark Christmas 2019 I’ve launched a range of individually painted artist edition baubles. There are 50 individual hand painted baubles numbered and initialled from 1-50.
Here’s a sample of some of them
Brighten things up this year and add a little pop of colour to your Christmas tree with a unique piece of art. Create a neon and pastel theme or add a hint of bright, white and fresh colour and make your tree a colourful and contemporary work of art.
The first batch is now online! Each one is ceramic painted with artists acrylic paint in a range of fluorescent and pastel tones, transparencies and opaque panels to mirror my latest works.
The Christmas baubles are tied with neon yellow elastic cord and packaged in a white gift box.
Delivered in time to give as a Christmas present or to decorate your own Christmas tree.
POP TO THE SHOP!
Scaling up and expanding
Sometimes working on multiple small paintings at once leads to results that require a little expansion - to further explore something to see how it might work if the areas and proportions changed.
I've always enjoyed large scale paintings, my work generally lends itself to a more ambitious scale rather than being confined into smaller dimensions, but smaller works do help to create a volume of ideas and exploration.
This is how a few of my recent big canvases started out. I scaled this smaller piece up to a really big painting as I could see the capacity it had that would lend itself to a bigger expanse.
The detail of the ‘balance’ (the linking of elements), the semi-opaque white as a leading element to this piece, are favourite points for me.
I had to scale the piece from rectangular portrait dimensions to square and devise how the colours would work on a white primed canvas when the background wasn’t a neutral base of ply.
With painting onto the white primer there’s a need to cover the whole surface, unlike with the ply, which means all of the painted shapes become more as one, rather than benefiting from the natural way the ply becomes visually, and tangibly another plane.
With the ply it’s more obvious that the surface is separate and the paint sits on top of it. With a canvas this is less so the case. And then there’s an element of illusion in the two dimensional effect as well where just by adding a painted colour, it changes the planes.
Yellow and white abstract.
This painting is another large scale translation onto square canvas from one of the smaller studies on ply that I did.
The asymmetric composition and diagonal lines with linked elements are where I feel the flow with this, as well as the introduction on this larger piece of the red triangle ? contrasting with the subtle green and white, yet linking across to the fluorescent yellow.
As with the other large painting that evolved this way, there were changed and adaptations I made to transfer to a white background (primes canvas) and the larger, square format.
Now having lived with it for some while, and having progressed other pieces I’m eager to add something, another element, that was never a part of the plan when I started.
So you could say that this piece has taken almost 2 years to do!