Update Gray's Wharf Residency 1st September - 12th October 2020

Latest plans for my Grey's Wharf Residency 1st September - 12th October 2020

This is an invitation to join me virtually in my art practise as I embark on a 6 week programme of scaling up and generating new paintings that break through the boundaries in my current work.

I’ll be occupying this beautiful studio at Grey’s Wharf on the river in Penryn undertaking an artists studio residency. I will be documenting the residency, my painting processes and development and creating a new, exhibitable body of paintings. I will be sharing my progress by streaming, blogging, taking video, and updating on my website and social media channels.

At the end of the event I will be creating an exhibition of the new work.

This is the first residency offered by Grey’s Wharf and I am very lucky to have been awarded this opportunity.

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.

Through the residency I hope to:

  • Push the boundaries and take risks to advance my work.
  • Create a three dimensional experiential environment, amplifying the planes of colour (paintings as an installation to surround the viewer) with more 3 dimensional paintings that explore the use of different ‘canvas’ materials
  • Make work that literally pops out of the canvas, transitions out of the canvas and is on and off the walls, the canvas and other three dimensional pieces around the room.

The residency offers me space in which to both do some big paintings, and also to stand back to review, critique and judge them. As a part of the residency, I am lucky to be able to gain critical feedback from artist practitioner Naomi Frears who is not only a hugely successful professional visual artist, but also tutor at the St Ives School of Painting.

I have already been starting to work out what I need to order to achieve a project over the 6 week period. I’ve downloader an AR (Augmented Reality) app to help with planning for the space and to help me to visualise the end result I might achieve. This is a jump forwards in my process from simply jumping in to ‘doing’ from my head or from a quick sketch. I’m investigating the processes that interior designers use to show prospective designs to clients (and if you are an interior designer reading this, then please do get in touch with me if you are happy to share your tips!). I hope to be able to post visualisations prior to the finished work being created.

Having visited Grey’s Wharf Studios yesterday I now have canvases to order, suppliers to research, materials to test and decisions to make as to what the end result is going to be.

Get Involved!

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Artist Support Pledge new additions July 2020

#ArtistSupportPledge, latest additions!

Here are my latest additions to the Artist Support Pledge. I have looked back into my archive for these abstract, more expressionist paintings, which represent a different phase of my art practice.

These are all smaller pieces, they explore different themes of tension in the paint and the colour, process-led paint application, and the contrast between control and a sense of freedom in the approach to making a painting. The paint is applied in layers, sometimes the layers bleed into one another and the paint reacts.

These paintings date from around 2003-2010, before the current trend for pour paintings has emerged on Instagram. The process paintings they derive from were influenced heavily by artists such as Ian Davenport, Fiona Rae and Damien Hirst’s spin paintings, all from the 1990s. They were painted on the floor flat to enable the paint behaviour to be influential in the outcome of the painting.

Each one of these paintings is household gloss paint on canvas, mostly in bespoke colours. They are on either bespoke gallery standard canvases or more lightweight frames. The price of each painting reflects the canvas grade.



I’m taking part in the Artist Support Pledge initiative, can you help to support me so that I can support another artist?



Due to the COVID-19 pandemic, many artists have found themselves without work, teaching, technical support and gallery work. Exhibitions and sales have disappeared. In an attempt to help alleviate some of this stress I have instigated the ARTIST SUPPORT PLEDGE #artistsupportpledge


The concept is a simple one. Artists post images of their work, on Instagram which they are willing to sell for no more than £200 each (not including shipping). Anyone can buy the work. Every time an artist reaches £1000 of sales, they pledge to spend £200 on another artist/s work

To make a pledge, post your work with the #artistsupportpledge and follow the # to see everyone else’s work. Keep updated on new opportunities and announcements @artistsupportpledge Repost and tell your friends, colleagues and collectors. Let generosity be infectious.


#supportartists #covid19 #coronavirus #livegenerously

Below are the first items I have tagged for this pledge, there will be more to follow soon including some of my process painting pieces, bigger gloss paintings on canvas and some diptychs. My website supports PayPal payments which can be made through PayPal or by card. I will post pieces within 24 hours of sale.

I am continuing to add pieces to the shop, please come back later and check what’s new!


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.


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.


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


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


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.


Trudie Moore abstract painting studio

I once had a conversation about how I develop my paintings, do I plan them? The suggestion was that I could plot them up on on a computer before painting.

But despite the time to learn a way that suits me for this to work, I struggle with that as my brain works better by using the paint itself. And actually a lot of the time what I plan changes as I’m doing the painting.

I can lose the impact if I try to plan too much. Perhaps you could say it was a 2-way conversation with the painting where it starts to guide you. You could say this was an intuitive approach but I think it’s more of a collaborative process with each piece.

Or maybe I prefer to just enjoy the moment or the instant that something reveals itself to me. A bit like running. I hate to run out and back on the same path, the run back is too difficult or painful to endure, I like the constant change of the new all the time. To plan a painting and then paint it, I think kills the joy and the thrill/ tension in the moment of actually getting the idea direct to the painting.

But I do use a sketchbook so that I don’t lose ideas and thoughts when they hit me or when I want to work out how something is going to work.

And so with the development of paintings, I love nothing more than to work on several at once. If my mind goes off on a tangent with an idea I can do it on another painting instead of being solely tied into the one and then losing the idea by the time I’m done. And I can develop nuances I think of once I’ve started by running those thoughts and ideas across a group of paintings at once.

That’s what’s happening in this picture, several pieces in development at once feeding into one another, a neon hotbed of ideas!