New Work // Untitled with Disruption

/September 2023

New abstract painting on canvas. Abstract with gloss and acrylic relief in yellow, white and fluorescent marbling

Presenting my latest work, Untitled with Disruption [Abstract with gloss and acrylic relief in yellow, white and fluorescent marbling].

100 x 100cm, artist’s acrylic and water-based household gloss paint on natural canvas.

As with the other recent pieces that I’ve been making, this painting continues the exploration of my ongoing body of work which started around 7 years ago.

In general my work is quite purely about process, materiality and more simple perception of abstract art, focusing on colour, composition and material, but in the last 3 years or so I have felt that my own personal interaction with the works, and the application of myself to them and how I feel when making them is becoming more apparent.

The last few paintings have been articulating expansion, clarity and calm, this particular piece explores some feelings of deliberate disruption. The blatant contrasts of surfaces, strong use of asymmetry and angled lines create energy and momentum are specifically pushing towards a strong feeling of positive disruptiveness in this particular painting.

This coincidentally mirrors aspects of my life, especially in this last year. It has been one of continued upheaval, adaptation and positive reinvention of myself. The personal aspect is a new strand of influence upon my work, although the core aspects of painting process and abstraction are still the foundations of it.

As with all creative processes, the painting contains elements of experimentation, risk-taking, conversation with the piece itself, and this results in changes and developments which bring it to a new space.

The process that led to the completion of this piece took itself through an experimental and therefore disruptive stage before turning some large directions to bring it to completion. If you were to peel back the layers and see what’s hidden under the surface you’d find a stage of the painting that happened which was entirely different, but which I felt the need to hide in favour of a final aesthetic. The experimentation has pushed me towards a yet-newer colour palette than the last sequences of paintings. This palette feels as though it’s shaking things up, which is something that I was looking for as I felt that my colours were becoming limited.

The colours that I have been using for the last 5+ years have become a strong part of the work I create. Observing those who look at my work I’m energised and filled with the positivity of those who are brought into my environment. I feel that the work has the potential to uplift its viewers and to make them feel a sense of positivity and happiness, partially through colour theory and immersion within environments.

The background of this work:

In this wider body of work, there is 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.

The natural duck cotton gives an organic contrast with the syntheticity of the acrylic paint and it complements and enhances the tones, transparencies and opacities of the applied planes of colour.

The geometric forms and layers nod towards a three-dimensionality and future plans to widen my practice into ‘other’ dimensions.

Alternatively, you can help to support my fine art practice by visiting my shop

This work may be available to purchase – please get in touch

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.

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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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Abstract in yellow with whites, red and gloss relief

/July 2023

New abstract painting on canvas.

I’m excited to present my latest work, Untitled [Abstract in yellow with whites, red and gloss relief].

100 x 100cm, artist’s acrylic and water-based household gloss paint on natural canvas.

This painting continues the exploration of my ongoing body of work which started around 7 years ago.

Within this painting I am continuing to evolve the planes and space while in the background, thinking forwards to a body of sculptural and installation works that I have skills funding for from Cultivator Cornwall and the Arts Council.

The background of this work:

The natural duck cotton gives an organic contrast with the syntheticity of the acrylic paint and it complements and enhances the tones, transparencies and opacities of the applied planes of colour.

The geometric forms and layers nod towards a three-dimensionality and future plans to widen my practice into ‘other’ dimensions.

Alternatively, you can help to support my fine art practice by visiting my shop

Available to purchase online, or in-person from me by booking a private studio view

BUY MY NEW WORKS

More about my current works in this decade

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New additions to the shop April 2023

New to the shop

/April 2023

Take a look at the large scale paintings for sale which are available to be purchased.

large abstract canvas in geometrics, pastel yellow white and spearmint hues sits in a white room with a white chair and framed prints to the side

Available to purchase online, or in-person from me by booking a private studio view

These large scale paintings are in artist’s acrylic with water-based gloss paint, or water-based gloss paint, which gives texture and visibility to the medium of the paint upon the surface.

Take a look at them here in more detail, or drop me a line for a studio visit, zoom call or videos of the works.

Transportation either in person by hand, or via courier in the UK. If you are overseas and have your own shipping company then this is possible too, however, shipping from the UK is very expensive at present. Please get in touch to discuss further

BUY HERE

More about my current works in this decade

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Last order dates for Christmas post and Giclée Prints

9th December is the cut off date for ordering my art prints before Christmas.

I have limited stock available in A1 and A3 sizes for immediate dispatch, but my high-quality giclee prints of a few of my large scale paintings are available to order in a range of A sizes.

These prints 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).

Prints are available either from my website shop for delivery, or for collection from my studio at Krowji.

Last order dates for Christmas delivery for any of my other items (baubles, canvases, ply panels) are as per Royal Mail’s Christmas posting dates for 2021:

Saturday 18 December	2nd Class 2nd Class Signed For Royal Mail 48^®
Tuesday 21 December	1st Class 1st Class Signed For Royal Mail 24^® Royal Mail Tracked 48^®**
Wednesday 22 December	Royal Mail Tracked 24^®**
Thursday 23 December	Special Delivery Guaranteed^®

If you require International delivery, please get in touch with me to quote for costs and lead times as these will probably fall under private shippers terms and dates, customs regulations and customs clearance and documentation, which for the UK at present has delays to certain countries.

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.

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.

Untitled [fluorescent yellow with red triangle] Acrylic and household gloss paint on canvas 150 x 150cm

Untitled [pastel blue and spearmint] acrylic and household gloss paint on canvas, 2020

Untitled [gloss inset with fluorescent yellow and orange] Acrylic and household gloss paint on canvas 150 x 150cm, 2020

Untitled [yellow, quinocridone purple and pastel coral with outer glow] Acrylic on natural canvas, 2020 150 x 150cm

Trudie Moore recent works 2019-2020

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.

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.

ABOUT TRUDIE MOORE ABSTRACT ARTIST

More blog posts about exhibitions

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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.

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.

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

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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!

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Painting on plywood

A lot of my recent abstract paintings are on plywood. There's something architectural about them, it feels as though I can expand outwards from the surface. I feel as though that surface can layer with others. The ply gives me a really solid and resistant base whereas canvas gives and feels more fragile.

This has become something of a trend for me. Traditionally I've always used canvas - high-grade artists canvas on bespoke frames. But not as of the last few years.

Modern acrylic paints have a range of abilities and very satisfyingly they suit ply, and ply works well with my hard-edged geometric lines. The paint goes on super smoothly and the edges are much cleaner. I've been working with the ripples in the wood to help determine which areas of the surface I want to 'save' and which I want to obscure. This sometimes dictates the composition which gives me restrictions I have to work within - external controls if you like - of which I help to make and guide the decision.

Here are a few medium-sized pieces from 2015. There is some structure, there are divisions, there are omissions to the surface.