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.

 

 

 

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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.

 

Go to the shop

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

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    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

    Trudie Moore New Works ExhibitionTrudie Moore New Works Private View

    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

    © Trudie Moore 2020
    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.

    Commissions

    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!


    Commissioning an artist

    You might be asking “How do I commission an artist? I don’t know where to find one, What should I expect? How do I start?”

    I’ve been undertaking commissions over 21 years, for me as the artist, it’s been simple, I chat to my client, we discuss what they like and I build a picture of what the painting is in my head that is what they want. But that’s not the scenario for the recipient as they just don’t know what they are going to get.

    I don’t know where to start

    Don’t worry, I do

    So you might be asking the same question ‘can you do something for me? What’s it going to look like?’

    There are so many ways of going about briefing an artist, or of carrying out a process for a commission. I’ve done them a few different ways:

    • the client asks for something that looks like something I have already painted and we chat about that and it either sets the brief immediately – style, colours, size OR it leads into new territory for something a bit (or completely!) different
    • I go to the house/ business/ location and we measure up, look at what’s already in the space (furnishings, furniture, light, space, materials and colours of objects in the room)
    • I take an existing painting around to a space to see how it works in the space, we talk about the colours/ space/ visual style and elements of the painting.

    Trust

    in the process

    Be brave

    There is a degree of trust and faith you need in order to take a risk. You aren’t in a shop looking at something that has already been completed and imagingin how it will look above your sofa or reception desk. You have to know and understand that the artist you’re working with has a strong sense of visual awareness and sensitivity both to you, your environment and the outcome you’re looking for.

    Take a chance

    This is the time to be adventurous. If you brief the painting to be safe, that’s what you will get. If something that is in the artist’s portfolio really appeals and is unique, stands out and is stronger than the rest of their work then that is the upper point of risk you might take. The more you talk the better the outcome. If you say ‘ I like that but that one is a bit adventurous, I feel like I should have this [safe] one over here, can we meet in the middle?

    Perhaps you like adventurous, perhaps you need reigning in? Maybe the bold colours need to be brought into line with your interior so that they don’t clash.

    There are so many variables.

    You can be guided.

    You can set the boundaries

    You can choose the size

    You can choose from a portfolio

    You can guide the colour choice (if you need or wish to)

    Or you can trust in the artist to create something with you in mind that is their vision.

    You can commission something that you choose to have no input into

    Their vision of you, or their vision of what you like. Or you can ask them simply to do something for the space that is completely of their own, that you will love, because the thing that drew you to them for a commission is an intrinsic part of what they do. You can work with their intuition and natural style. That way the piece you commission just might be the wonderful piece that makes the art collectable, valuable and unique and worth the most to you, to them and to the art world (if future investment is the thing you are after).

    How would you choose to run your commission? You have the power to both choose the artist you want to work with and the power to decide if the choices I have outlined above are available from the artist you choose.

    Trudie Moore abstract painting geometric 2018

    My process for

    commissions

    How I take commissions

    Here’s a sample of one of the ways in which I do commissions, hopefully you’ll find it a calm and reassuring process, there are some formalities but I try to keep it lightweight because that’s more enjoyable for both of us.

     

    A bespoke commission for an abstract painting in the style of my current body of work (geometric abstracts)

    You will enjoy the experience of commissioning a qualified artist to create a site-specific painting in collaboration with the artist. I have been creating commissions over 21 years.

    I’ll come to your site and chat about the possibilities for creating something that works specifically within that space and which can be seen as an extension of your personality or business through that environment. You might wish to come to my art studio or storage facility to view more paintings and discuss them more deeply.

    I will then send you a quote and a short contract to sign to commence work, I will also ask for a deposit to be used against materials (but the full payment is upon delivery).

    We might discuss points in the quote or the brief further at this point to check that what was discussed and put onto paper is still on track.

    If it’s an installation, or something more three dimensional, we might draw up some visual plans or light sketches to illustrate the mechanics of the piece, but you will be aware that the way that I work is an evolution with the painting itself and this is not controlled and contained planning as such (like for a design) it’s a piece of art that has a conversation with the piece itself.

    It is unlikely that I will show you the painting prior to delivery unless there are any queries.

    Your painting will be created and delivered within an agreed time frame (usually 6 weeks dependant on time of year/ drying times).

    I will give guidance on hanging the work but will not install the painting unless it’s painted direct-to-wall. 

    After delivery, I will ask to take photos and I might ask for you to send me photos after installation, or for a recommendation or social media sharing. I’ll ask you for permisison to share any photographs of your interiors or profile.

    What I will create for you

    You will commisison me to create:

    • A fine art painting on bespoke artists gallery canvas from Harris Moore or another professional canvas supplier, of your designated size (ply or acrylic on request) or an installation painting.
    • A specific piece of art that enhances and creates a feeling within your environment 
    • A site visit to your chosen location for the piece
    • The experience of having a piece of fine art created that will be specifically for you
    • All materials
    • Ownership of the final piece (creative license remains with the artist)
    • Installation of painting direct to walls OR delivery to location*

     

    Who commissions work best for

    This works best if you are:

    • Open to enjoying the process
    • Willing to place your faith in the artist to create something in their house style that has you and your space in mind
    • Have a sense of adventure and ambition about your project and its place in the artist’s body of work
    • Happy to work to the artist’s contract of sale

     


    Hello world and welcome!

    Welcome to my super cool new website!

    It’s been years in the dreaming, weeks in the building and eventually I bit the bullet to get on with a new site to showcase my paintings and my new start in Cornwall, view on mobile, buy more easily online and see all of my key information in one place.

    I’ve had a custom website built by Sallie-Ann at Hype Digital for probably 15 years and she’s been, and continues to be, a great web developer to look after my website needs.

    Sallie’s capable of looking after all of your website hosting, set up, e-commerce and web design whether you use Wordpress with a template and are a savvy user or a complete website phobe, or if you need bespoke coding and database needs. (Just a little plug here as I have been with her for a long time and she’s been awesome, responsive and accommodating and I know people go to her because of her skill and friendliness).

    I started a blog on the side of the website for my art interests at Blogspot (which I have kept live for now as I won’t be importing all of the posts are at the moment) and so this site means I can chat art and link al my inspirations through into my website so that you can see how what I see inspires me to practise the contemporary abstract painting style that satisfies me.

    If I go to an exhibition, gallery or view then this will be written about here alongside with showing you my latest practice, new paintings, working process and the critical theory that goes into my paintings.

    So for the first post, welcome and I hope you fin the site easy to look around, please let me know if you have any feedback on it that I can accommodate to improve it!

    And while you’re here, why not take a look at my portfolio!

    Trudie