ON NOW - New Works / Trudie Moore Exhibition

ON NOW – New Works

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.


Trudie Moore abstract painting geometric 2018

Open Studios Cornwall 2020

Open Studios Cornwall is from 29th August to 6th September 2020.

Open Studios Cornwall is a coordinated Cornwall-wide event where artists from all over Cornwall open their studios at the same time, 

creating a county wide festival of art, design and craft.

More than 200 artists, designers and makers are taking part in the Open Studios, 30 of those are located at Krowji in Redruth and so if you plan to visit me in my studio there, you will be able to see an even bigger selection of the wealth of creative talent Cornwall has to offer all in one place.

I am aiming to create a gallery-level experience during this event, so whilst you might have been missing the pleasure of visiting exhibitions and galleries for contemporary art in the spring and summer this year, I will be bringing a feeling of this to you through my plans for an integration of in person, virtual (videos & documentation) and connecting with me live through a stream of me at work.

Visit Trudie Moore’s artist studio in August and September

Because we have had a little longer to prepare for the new dates of this event, I have come up with more of an experiential format for the event incorporating exhibition, private views and appointments, online (virtual) videos, a documentation experience streamed from my live residency and, of course, the usual drop-in format.

On show at my studio at Krowji, Redruth –

Gallery style exhibition, private appointments, drop-ins at the main event and a live stream to my residency.

Open studios are a brilliant way for you to see my work, my art is meant to be enjoyed by the natural eye for the greatest benefit of the colour, scale, textures, lines, edges, transparencies, surfaces. You can’t get a good enough impression of my paintings from an online image as it’s very hard to convey the experience (one of the reasons I have started doing talk-through videos on IGTV – Instagram TV, so show and describe the work). So coming to see me in person in the studio where you can come simply to chat and find out more will offer so much more.

I will be showing a selection of recent and older work, and I will have pieces for sale to take away with you.

Come and have a chat with me about my work, how I work, what my work is about, buy a painting or even give me critical analysis! I have loads to talk about, The Christmas Open Studios at Krowji delivered some really deep and insightful conversations that were enjoyed immensely on both sides.

A virtual window into the creation of my newest work – streaming from my residency 1st-4th September

I will be working from a residency in Penryn on the weekdays of Open Studios and so I am working to create an online journal/ diary of me at work on my new project. The residency commences on 1st September and runs until 12th October and so you will see me via a stream, blog, video and IGTV in the studio there between 1st to 4th September and be able to chat to me on 5th and 6th about it, and my ambitions for the future in person at Krowji (Studio 108c!).

This will be an additional experience to visiting me in Krowji as my space in Krowji is small it doesn’t allow room both for showing work in progress as well as visitors and exhibition/ viewing and so by making my big residency project available by documenting it online, not only will you be able to share in the experience of this online documentation (and I will be collecting the documentation by way of a critical aspect of my work) but you will also be able to get an insight into the future of my work, it’s direction and the ambition and scale I have for it. I will be aiming to set up a screen in my studio to show me at work at the times I’m not present at Krowji.

If you are still in Cornwall, or back in Cornwall in mid October 2020 I am hoping to hold a Private View of the new work. To be invited to this please request to sign up to my email list here.

 

Collect website orders from me in person

If there is a piece you would like to buy in advance of the event, you can buy it through the website and collect it at Open Studios either when I am there, or by appointment. The website has a PayPal payment gateway and takes all mainstream card payments. If there is something you wish to reserve and pay by bank transfer or cash, please get in touch with me.

Seen something you like that’s not in the shop?

If there is a piece of my work you have seen online either through my website, social media or through my old blog or old website, I can bring it to Open Studios for viewing. My back catalogue is in storage and not everything has been photographed, so if there is something you like and want to know if I have more of, I can email through images.

Like something but it’s the wrong size, colour or you have an idea for a variation or a specific place?

Likewise if you would like to discuss a commission or a project, I can compile examples for discussion and meet you to show you more!  Here is some further information on Commissions and projects and an outline on what you can achieve by commissioning an artist.

 

Visiting Open Studios Cornwall 2020

 

How I will be opening my studio to visitors for Open Studios Cornwall

Because the dates for Open Studios moved back from May to August, the dates now run at the same time as my residency at Grey’s Wharf in Penryn.  Here is how I will be opening up my studio:

  • I will be opening physically over the two weekends of Open Studios Cornwall in my studio at Krowji and so I will be present to welcome visitors into my space.
  • My space will be open when there are other artists present in my space as a gallery exhibit. I am hoping to be able to show the video/ my blog on some manner within my space and there will be contact cards to make an appointment to see me and there will be pieces hanging in the hallway to look at.
  • I will be opening virtually in two ways:
    • By updating my blog from my residency to show the progress I am making on the residency and by posting on Facebook and Instagram
    • By creating a video tour that will be uploaded to You Tube
  • By taking bookings to meet you at Krowji for an appointment

Drop in and Visit me at Krowji on 29th & 30th August 2020

Opening hours for weekend visits: 11am – 5pm Saturday and Sunday

I will be in the studio for the normal opening on the weekend days for chats, sales and information.

Make an appointment with me for a studio visit during Open Studios 2020 on weekdays

Available Hours: 9am – 8pm Monday to Friday

I will be taking bookings to show you my studio in person during the week. If you can’t visit me on the weekends, if you are an architect or an interior designer looking to source artwork or discussion during working hours, or if you are worried that the studios will be too busy, I can offer you a quieter visit to see my work when the doors to my studio space are closed.

I will be uploading a booking system to my website soon, in the meantime, Make an appointment with me by using my website contact form here.

Protocol for visiting my studio and Krowji

My space is small and I am hoping to rent a bigger room for the duration to allow for social distancing. But whatever the space available, there will be measures in place that visitors will need to adhere to to allow for a relaxed and safe environment.

  • Face masks will be a requirement to studio entry, I will be wearing a mask and I will ask that you do too
  • Hand sanitisers will be provided on entry to the building, and on entry to my studio room
  • As my space is small, I’ll only be able to welcome one person/ one ‘family unit’ / couple at a time
  • There will be a marked trail and marked waiting areas on the floor to create a comfortable flow and good spacing
  • The studios will have increased cleaning during the event and I will clean the space between visitors

Where to find my studio

I am usually in studio 108c but for the duration of Open Studios, to exhibit my work and allow for social distancing, you’ll find me in studio 220 on the 2nd floor of the Percy Williams building, just upstairs from my usual space.

Address Studio 108c, Percy Williams Building, Krowji, West Park

Town Redruth

Postcode TR15 3AJ

Directions

From A30 take main Redruth exit and follow A3047 towards Pool/Camborne.æ Pass Redruth School on left, after about 200m, turn left into West Park just before the large roundabout.æ Limited parking available on site.

Facilities:   Disabled access, toilets, disabled toilets, cafe

Open Studios artist listing for Trudie Moore

Trudie Moore’s contemporary abstract paintings explore control and restraint in the painting process. These paintings have luminous 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. Paintings are priced from £45–2,000.

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Book an appointment for Open Studios Cornwall 2020

Please use the form below to request a private appointment between 30th August to 6th September.

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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


Inspirations from Tate Modern

Inspirations from the Tate Modern, November 2015

On my day out to see Ai Weiwei’s exhibition I took the opportunity to do some further research and to look for painting inspirations in the Tate Modern. Limiting myself to the free exhibits I was interested in narrowing it down to just the Energy and Process and Making Traces rooms. I was a bit disappointed in the painting selection, but there were a few key items that took me, and one completely unexpected body of work encompassing drawing, sculpture and performance by Rebecca Horn that was a real surprise.

First of all, the paintings.

 

Giorgio Griffa, Segni Orizzontali, Acrylic paint on canvas, 1975

This piece was of interest to me initially because the painting isn’t attached to a canvas stretcher, it’s simply painted straight onto canvas and pinned to the wall. There is a relationship between Griffa’s use of the canvas material as a raw object to how I apply gloss paint in the more process-led paintings where it wraps around the surface sides of the painting to amplify the three dimensionality of the painting’s surface.

Giorgio Griffa, Segni Orizzontali, 1975 at the Tate Modern, November 2015

Griffa is recording the process of painting which I feel is making a statement just about process. He uses a harmonious sequence of colours developing from one line to the next but after four lines of marks the brushstrokes taper off into nothing leaving the remainder of the canvas bare.
To me this is initially interesting but it feels incomplete, as though he’s given up on the painting and lost interest once he’s proved his point.
There is always a question raised when you do a painting of when to stop and how to know it’s finished. Perhaps he’d planned to stop at the moment he felt the point was made and that would be the end of the painting. Perhaps a second half of making that half finished painting into a statement about art is in the practice of folding the canvas up when in storage to retain the creases that will be prominent in its next display.
My initial interest was fulfilled quickly but I didn’t want to stand and stare at it or to come back for another look, the idea was quickly digested and I moved on in search of more.

Cy Twombly Untitled (Bacchus), 2008

 

I was particularly looking forward to re-acquainting myself with the work of Cy Twombly; massive, expressive canvasses with giant gestural marks of free flowing paint. Immersively large scale and full of impact.

I’ve always enjoyed doing large canvases, they are expensive to make and quite a big gamble to undertake given the cost involved to do one but when I do it pays off, the bigger paintings always lend themselves to space and freedom well for me and I feel able to stretch out and explore the space. I never like to waste resources or money so I know if I don’t get it right I won’t be a happy bunny.

 

Cy must have either been a wealthy man or he had big confidence that these would work, which is lucky as we can happily assume they have worked given they were made late on in his career. These three giant ‘blood splatterings’ of paintings are on display in their own room. They were painted using a brush attached to a long stick to achieve the huge swooping lines almost resembling handwriting.

Cy Twombly, Untitled (Bacchus), 2008 at the Tate Modern, November 2015
Detail from up close of Cy Twombly, Untitled (Bacchus), 2008 at the Tate Modern, November 2015

Cy said that he did paintings when he had an idea for them and so they came naturally. He let the painting idea and needs dictate the size of the canvas, which is also a concept I agree with. Some paintings can’t be contained into a limited space, it doesn’t work and the composition and scale don’t work – and why work at a small scale when really you intended to paint at a large scale as that was the essence of the painting?

 

Another practice of Twombly’s I agree with is that he paints three or four paintings at the same time as a group which is another natural thing about painting. If I am to do one painting I inevitably have three or four other variations of the same piece in my head at the same time and they don’t all belong in one painting. Each need to be expressed while the thought for it is there as they are separate entities and variations on the same theme. An example of this is in Abstract paintings numbered 1,2,3 and 4 (the first four paintings in my portfolio on my website). These were all painted at the same time, they are similar but they express different paces, compositions and colour balances and they enable me to be able to document the full range of the painting. The four paintings together in a way are of one painting, or one thought for a painting, yet they are separate and individual pieces where one thought leads to another and then another after that. It’s like a contained sequence of thought similar to the artist’s whole body of work where in order to do a painting, another painting before that has informed it and then that painting leads on to more. A creative gateway has opened within a painting that generates broader thought and a proliferation of variations.
I’ve seen graphic designers work in this way too, they have an idea but there are various ways of executing it, then they can drill down on the one that works the best and progress that idea forwards to create one final piece, yet any of those ideas could have been a feasible outcome. And it’s similar in creating a body of work with painting, it’s possible to create endless outcomes in abstract painting but a direction will work the best and that’s what needs to be continued.

 

I feel there is a relationship between my working practices and those of Cy Twombly, from a purely abstract painting perspective, I like scale and multiples of paintings, I love his large scale gestures and I love the intuitive and un-forced approach to letting a painting happen and creating the painting that there is an idea sitting there for.

Tomma Abts, Zebe, 2010

 

I next spotted a small painting by Tomma Abts, Zebe (2010). My contemporaries in Two Queens had recommended that I take a look at her work due to my current predisposition to using geometrics and tight control in my latest work (currently in progress and no spoiler alerts here!).

.

Tomma Abts, Zebe (2010) on show at the Tate Modern, November 2015

This was a very small painting with an undercoat of acrylic painted over in oils, neatly and flatly painted only 48 x 38cm. A slight contrast to the paintings by Twombly!

 

Abts doesn’t need the 3-4 metre space to execute this neat and controlled painting and she methodically applies the paint out of which the forms and shapes emerge, readjusting until the composition is arrived at. So here she seems to use a combination of method and intuition then makes a decision at the point at which she thinks the painting has evolved to a stage that it’s done.

 

Here there also is an element, as there has been in my work, of the painting helping to determine itself. It seems to me that this is a process by which she works with the painting, again with a degree of intuition and some control over it. As I find, there is a point at which the painting can’t be controlled (despite a controlled style of painting) because that would incur precise planning and knowledge of the exact outcome (which would be detrimental to learning from the painting) and at this point does it then become a design? The end result of this painting due to the flatness of the paint does seem to look something of a design to me.

Making Traces exhibit

 

Mark Rothko (late 1950s)

 

I had run out of time when I reached the Rothko room, and only had time for a very quick photo and glimpse which was disappointing. I wanted to have time to sit and think about the work but we were being ushered out.

Mark Rothko paintings as part of the Making Traces exhibit at the Tate Modern, November 2015

There were nine paintings in this room, very very dimly lit and hung against a mid tone grey wall. All of them were deep red with varying compositions. The paintings had originally been commissioned for a restaurant and I felt that explained the lighting as they would have been seen at this light level. Which is an interesting layer to add to the thought behind the paintings.

 

I felt as they were intended, claustrophobic, closed in and almost as though I were in a soundproof room, but visually soundproof. The light, painting colour and scale made everything feel muted and almost depressing due to the weight of the red, grey walls and the shapes within the paintings. A very heavy experience.

 

The board outside quoted Rothko to say of Michaelangelo, his influencer that he ‘achieved just the kind of feeling I’m after – he makes the viewers feel that they are trapped in a room where all the doors and windows are bricked up, so that all they can do is butt their heads forever against the wall’. I couldn’t agree more and it wasn’t what I had expected to see.

Rebecca Horn

 

I mentioned earlier the surprise of the work by Rebecca Horn, an artist I was really not familiar with and whose work was not particularly directly related to mine, I didn’t think, also the work was quite a mix of video, performance, sculpture and drawing, so not an obvious choice but I did think it was rather exciting and interesting, probably because it freaked me out rather a lot.

 

Some of this was from the 1970s and other pieces were more recent work from 2005. It was the more recent body sized drawing-paintings that were the initial interest. Without reading the plaque the body sized marks and (almost bloody) fingerprints give an impression of the body and connect the marks on the canvas in a strong visual way. It’s incredibly clear to see and to feel the way in which the artist has applied the mediums to the paper, almost as clearly as though she had done it there and then in front of you. The marks left behind are raw and very exposed and I’ve not felt something communicate the action of the user in such an explicit way before. There seemed to be no barrier at all between the application and the viewing of the piece, which to me is really quite a freaky experience to feel given the theme of the work being meditation and energy, I really felt it myself and now I am starting to wonder if that’s got something to do with my own meditative experiences.

Rebecca Horn, House of Pain, 2005, on show at Tate Modern November 2015
Rebecca Horn, House of Pain, 2005, on show at Tate Modern November 2015

This is what the plaque says about House of Pain and Waiting for Absence, both 2005 (having read this after seeing the pieces):

‘to look inside bodies and meditate one’s own way into them… you approach a hidden centre, maybe the solar plexus, and follow the circular motion or energy threads of breathing’.

Rebecca Horn, Waiting for Absence, 2005, on show at Tate Modern November 2015

There were some other items in the exhibit that were quite scary and intimate. A video of Rebecca in the 70s making a drawing wearing a cage of pencils on her face, a Cockatoo headpiece that had ‘wings’ to envelope/embrace a partner into a kiss (this was really voyeuristic and a bit shocking) and then also, the piece that to me was the most raw and shocking item, a sculpture called Overflowing Blood Machine, 1970. This was bloody and to me, almost torturous looking, perhaps this was what gave such an impact of all the items that perhaps the mechanics had been inspired by medieval creations and inventions.

Overflowing Blood Machine was a plinth with transparent tubes that encased a wearer. I thought this looked less like a therapeutic hospital device than one of dystopia and torture or perhaps even unnatural genetic engineering or some other sinister device. The wearer (a performance artist) is ‘tied down on top of a glass container, tubes are wrapped around his body. Blood is slowly pumped from the glass container through the plastic tubes. This garment of veins encases his body, wrapping him in a pulsating skin.’ I think this is the stuff of horror movies, see what you think from the photos!

I’m now looking forward to my next gallery visit, but first some more painting of my own!

 

This blog post was first published by myself 23rd Nov 2015 at http://trudiemooreabstractpaintings.blogspot.com/2015/


Neon linings

Back to school! Not the kind of BTS post that everyone else is sharing at the moment though!

I’m very excited to say that today I picked up the keys to my new studio space @krowji_ in Redruth. After putting my back catalogue paintings into storage, my artistic move to Cornwall is complete.

This is a new phase for my art career in Cornwall. The Krowji is a redeveloped Grammar school and home to around 200 other artists and creatives, I can’t wait to meet all the other tenants, see their work and businesses and get restarted.

Every cloud has
a neon lining

So here’s to the neon lining on that cloud that’s emerged after saying goodbye to @twoqueensstudio 🥂

Watch this space!