James Moore

Untitled III (red), paint on paper, 20 x 16. Deep red and beige abstraction

1978

Confluence continues the dialogue of the Daily Drawing Series, a visual diary that integrates day-to-day imagery to narrate a story about shifting time. In Confluence, the layering of fragmented and unfolding circles -- the underpinning for each piece -- defines a sense of deep and evolving space...

Confluence continues the dialogue of the Daily Drawing Series, a visual diary that integrates day-to-day imagery to narrate a story about shifting time. In Confluence, the layering o...

Acrylic, wax and aluminum leaf on paper. 15.5" x 15.5" framed. Shown at VOLTA New York 2020. Aluminum leaf shines in the light.

Confluence continues the dialogue of the Daily Drawing Series, a visual diary that integrates day-to-day imagery to narrate a story about shifting time. In Confluence, the layering o...

Confluence continues the dialogue of the Daily Drawing Series, a visual diary that integrates day-to-day imagery to narrate a story about shifting time. In Confluence, the layering of fragmented and unfolding circles -- the underpinning for each piece -- defines a sense of deep and evolving space...

Gouache and graphite on handmade paper. 18 x 12 inches unframed, 23.25 x 17.25 inches framed. Artist Statement: “As an artist, I find endless possibilities overwhelming and use self-imposed boundaries to focus my work. This often includes some combination of: a literal grid or graphite border, employment of barbecue skewers or wooden chopsticks in lieu of paintbrushes for mark making, use of a monochromatic or limited color palette, and a reliance on shape and pattern to tell a story. Limiting the elements at play adds a measure of gravity to each decision, and every detail about the paper, the viscosity of the paint, micro variations in hues, and even the sharpness of the point on a skewer matters. I’ve found that the more restrictions I put in place when I paint, the freer my work has become, allowing a tension to form between the organic and prescribed. Rather than sketch before starting a new piece, I spend time with the paper and begin to visualize possibilities. From there, I can expand the work incrementally. Whether I’m working in an adapted form of pointillism, playing with opacity and hue, or building patterns through repeating shape, the work evolves in its own time. It is an intentionally open process of discovery that seeks to uncover the greatest potential of the basest elements we have at our disposal”. - Kate Snow

Ides Kihlen (b. 1917) completed this work in 2021 at the age of 104. She is known for her collage work and distinct color palette exhibited in this piece. "Sin Titulo (A) (VCH059)" i...

Sewing on Korean paper 23 9/10 × 19 7/10 in 60.6 × 50 cm This is a unique work. This work includes a Certificate of Authenticity. The patchwork of Ro, Shin Kyoung Weaving the networ...

Sewing on Korean paper 23 9/10 × 19 7/10 in 60.6 × 50 cm This is a unique work. This work includes a Certificate of Authenticity. The patchwork of Ro, Shin Kyoung Weaving the networ...

In From One Lonely Cloud color, line, shape, and texture collide with handwritten romantic fragments of prose on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic monotype ...

In But Now A Dreamlike Memory color, line, shape, and texture collide with handwritten romantic fragments of prose on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic mono...

In And His Open Arms Embraced color, line, shape, and texture collide with handwritten romantic fragments of prose on Kozuke ivory paper. This one-of-a-kind, unmounted encaustic mono...