Pay Later with PayPal
PayPal Pay in 3 - Pay Later with PayPal on my website
Art can be a big investment! I've activated Pay Later on this website so that you can check out securely and purchase artworks by paying in three instalments.
To date I have offered flexibility via Bank transfer, 50/50 invoicing, cash or bank card on collection alongside using the PayPal payment gateway (which takes bank and credit cards), but now by offering Pay Later you can take short term 'finance' at 0% Interest.
Why I'm offering it:
- You get your painting straight away
- I get paid for the work in full upfront
- I get charged the standard PayPal fee
- the checkout process is secure and has a level of buyer and seller protection by PayPal
- it makes art easier to afford and to buy, which means I can ship nationally.
WHAT YOU NEED TO KNOW
- Pay in 3 is less regulated than other credit agreements so please read up on PayPal's website first
- You have to sign up to it
- you can monitor your payments via their app
- Initial payment made at the point of purchase with the following 2 payments made on the same date over the next 2 months from your debit card/bank account.
- 0% APR
- Use it on transactions between £30- £2000
You can find out more here: PAYPAL PAY IN 3
Please note: this feature is new to my website, so if you experience any issues with the website during purchase please let me know! Trudie@trudiemoore.co.uk
One Tree Planted and War Child donations
One Tree Planted - or more per sale!
My website is built on Wordpress and I'm joining in with their "WordPress Gives a Hand" charity movement campaign that's running from 25th-31st December 2023.
For my part, from 25th December 2023 to 31st January 2024 I'll donate a percentage of my online art sales to help One Tree Planted with reforestation.
We are in a climate catastrophe and are suffering a biodiversity apocalypse. The UK is one of the most nature-depleted countries in the world, we have lost over half our wildlife in my lifetime due to human activity and I want nature to be restored not just for the climate, but for all the species that depend on it.
Here's a map that tracks global forest loss to bring it all to life.
The amounts I'll donate are as follows:
- £1 on sales under £15
- 10% over £15 up to £200
- £25 above that
You'll be joining me in this venture as soon as you shop on my site!
NO CHILD SHOULD BE PART OF WAR. EVER.
Warchild collections and donations from Open Studios
In December I was collecting for War Child during Krowji's Open Studios. I ran a small collection and promised to donate 10% of my sales for the weekend over the cost of the Open Studios fee (£35)
Sadly the donations given were less than £2, but I intend to carry this campaign on throughout the year by giving a fee the same as for One Tree Planted above. When you buy from me you can choose which of these two causes I donate to.
- £1 on sales under £15
- 10% over £15 up to £200
- £25 above that
War Child is the only specialist charity for children affected by conflict.
Around the world, children are facing unprecedented levels of conflict. This is especially true in Gaza and Israel, where thousands of children have died in the most recent escalation in violence, fighting and bombing. Terrified, traumatised and unsure of what the future holds, children living in Gaza, Ukraine and other conflict zones around the world are in desperate need of protection.
Find out more:
https://www.warchild.org.uk/
When you buy from me you can choose which of these two causes I donate to, please let me know in the notes field or by email!
Latest painting, May 2020 - Untitled
Untitled – [Red stripe with white and pale yellow pastel layers].
I have just completed this painting, it went on hold during lockdown and so the latest layers went on this week.
I have been trying to articulate how some of the transparencies I created on the ply box would translate onto canvas variations. The canvases I order are primed with a white primer, I don’t use rabbit skin glue because I refuse to be involved in animal cruelty as a consumer. So until I find an alternative, this gives me some limitations on how I use the paint when I translate it to canvas. There needs to be an addition of a colour to give the white transparencies something to show up against. The layers in this painting are extremely delicate and hard to photograph to show correctly and the studio lighting is overhead so that makes this task harder.
Hence I have chosen a pastel yellow made from combining fluorescent yellow and white. It’s become an essential part of the painting, not just a layer to form the underlying structure, but also a divider between two layers of ‘leaves’ of transparencies.
There is a rhythm througb the layers from canvas to the upper layers, a sequencing. The layers move outwards / forwards from the base canvas layer through pastel yellow, then white then yellow, they are intersected by the almost three dimensional red line (which itself wraps around the canvas and onto the sides) and the layering of white continues on top of this to seal it in.
If this were expanded out three dimensionally as panels they would be delicate, soft sheets. You could imagine walking through hanging layers or planes of space.
Around the edge to the top right there is a red triangle ‘tag’ device that would link this painting to the next, it’s a feature that has come from the previous studies on ply and the box where the elements of the paintings touch together.
All images © Trudie Moore
Current themes: transparencies, opacities, paint edges, material performance, three dimensional planes, lightness and freshness of colour, purity and expansion to create space.
Trudie Moore 2020
Transparencies and subtleties in my latest painting.
I’m in the process of developing a bigger, three dimensional body of work that expands planes and dimensions within my paintings. Materials are important to me, as much as colour and so I am investigating how the two work together to ensure the surface has an importance in the piece.
A piece I completed around Christmas starts to move into a much more three dimensional space. I enjoy working with materials that have a character of their own which brings a deeper concentration to the planes within the work. Ply has proved to be not just an appealing material with the natural wood grain contrasting with the plasticity and synthetic surface and colour of the paint, but it’s also a good, resistant and smooth surface that gives clean edges and sharp lines and a smoother surface to the paint.
So this has opened up for me various avenues I am exploring, how ideas translate both onto canvas and ply (and other potential materials) and how the elements within the paint itself work with the surface.
In terms of the paint application, there’s an ability with acrylic to create super sheer, delicate layers that can increase and increase in density and be built up to an almost plastic layer which sits elevated on the surface
Untitled [Three dimensional box in ply] .
Amplifying the surface more extremely is an experiment I have been making. My deep frame canvases haven’t been deep enough to carry out the ideas I have been trying over the years and so this three dimensional box is the substantial iteration of that. From the smaller preceding ply studies there were planes of colour that were moving across. This is the next step on where the elements go around the sides and over the top – an element of wrapping the object as well as unfolding around it.
There is a stage on from this of exploring both ‘the material of the canvas’ and ‘the material of the paint’ as separate yet combined elements which constitute the painting.
All images © Trudie Moore
Supporting studies .
The studies below experiment with concepts in the pieces above, some are tests, some are works in their own right.
Alongside my fine art practice I undertake commissions and sell existing work. You can find out more here, or learn about the Artist Support Pledge.
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!
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
Barbara Hepworth Studio
A rainy day in St Ives.
I once visited the Barbara Hepworth Museum and Sculpture Garden in St Ives with my Mum but it was such a distant memory that now we are living in Cornwall and I have a local’s pass for Tate St Ives that this would be a great little hangout with a toddler in tow – if we could get there walking …
So after a trip around the gallery this summer, we walked over the cobbled streets and took a look around.
Finding Trewyn Studio was a sort of magic.. here was a studio, a yard and garden where I could work in open air and space.
Barbara Hepworth
Trewyn Studios.
Once you’ve gone through the museum you can go straight into the garden (safest bet with a small live wire). It’s not immense but it is well packed with hardy tropical plants which thrive well in the humid conditions in Cornwall, and Barbara’s substantial sculptures. Clearly the sculptural nature of the plants sits well with the sculptures themselves.
Now please bear in mind that with a toddler in tow I’m not stopping to have the opportunity to read the blurb and critically assess each piece (and it’s raining), I’m casting a swift impression and grabbing a few moments to take some photos as it’s really photogenic!
Sculpture Garden and studio.
The garden is a lush green space with a rooftop view and the studio placed towards the top by the house. There’s a simple loop around the garden with planting that creates vistas to enjoy the sculptures which make for a good photo composition. The bronze and stone pieces fit so naturally within this setting.
If you peer into the studio, you can see a large white piece and all Barbara’s tools laid out. This isn’t how they would have been placed while she was working, it’s definitely been lined up to look good as a museum piece to viewers as the placement is far too composed to be a realistic work station, but what is clear is that this was a large space in which to accomplish grand plans.
And grand plans take some money, which Barbara must have amassed some of over her career, I can’t imagine someone without great sales success (or being bankrolled) could have dreamed of getting a 3m or so high bronze sculpture (Four Square, 1966) cast and craned into position anywhere, let alone their garden.
So with the rain now parting we escaped back home – I feel lucky to have this so nearby even though it’s an exhibit that won’t change much over time.
