Adam Mysock

So Abram departed, as the LORD had spoken unto him

2011

Born and raised in Houston, KRISTIN MOORE began attending art classes at the Glassell School at a young age. She moved to Austin in 2009 to obtain her BA in Art from St. Edward’s University. Soon after graduating, Moore moved to Los Angeles to pursue her MFA at Otis College of Art + Design. Moore’s first solo exhibition, Rear Window, was unveiled during the culmination of her participation in the MFA program in 2016. Upon moving back to Texas, Moore continued to explore contemporary landscapes through painting. The juxtaposed architecture of LA, the smoggy atmosphere, and unique characteristics of the city became source material for her work. Upon moving back to Texas in 2016, Moore viewed Austin through the same lens; the architecture is quickly changing, a new atmosphere is emerging, and the skyline is directly reflecting those elements. Oscillating between these two bustling cities of Austin & LA, lies the open space and peaceful landscape of Marfa. Texas. Often a favorite pit stop during the long road trips back and forth from Texas to California, Marfa holds space as a source of continued inspiration for Moore. Her Texas roots and California influence have culminated into her current body of work. Often inspired by Ed Ruscha’s work Every Building on the Sunset Strip and A Few Palm Trees, Moore sources the images that influence her paintings from her many car rides, walks, and hikes up to overlooks. A homage to Hollywood, Moore also finds visual influence for her work in the world of film; particularly from visionaries such as Stanley Kubrick, Ridley Scott, and Alfred Hitchcock. Her work has been featured in group exhibitions such as Turbulent Landscapes at Modified Arts in Phoenix, AZ, Excavations; Shindig at Mantle Art...

In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, to sprawling landscapes and unique architectural elements, this exhibition is a visual road trip from Los Angeles to Las Vegas. These paintings stem from Moore’s personal travels and open up a collective conversation about wanderlust. In these works, she revisits her former home of Los Angeles to shed a new light in juxtaposition to the bare California desert and the opulence of Las Vegas. This exhibition reflects a shift to new subject matter as well as a new artistic chapter that has been evolving within her work over the last two years. Moore’s process has progressed to become larger in scale, and more delicate in detail. This series of paintings offer trompe de l’oeil moments in combination with gestural brush stokes that reveal the artists hand. With a more increased focus on architectural elements, this exhibition amplifies features that were often muted in her earlier landscapes. With the exhibition title “All Those Who Wander”, Moore is leaving an option for the viewer to place themselves in the wanderlust narrative, or to observe it from afar. Moore believes we have a collective desire to explore and, in turn, we often daydream about our travels. This often creates a dream-like quality to our memories which results in a romanticized narrative within our minds. The reality of a place often doesn’t matter, it’s the memory of our experience there that sticks with us. We often like to sit a little longer with the most romantic and the most opulent visuals we have in our minds. Beginning with Los Angeles noir, the viewer is introduced to old Hollywood architecture blended with images reflecting the known edginess of the city. Familiar Hollywood landmarks are explored in a new light and we are left with a subtle sense of nostalgia as the viewer moves through the works. The bright desert landscapes lead into the “in between”; these are the lands that are on the way to somewhere else. Just as important as the beginning or the end, the transitional parts of a road trip often leave space for the most enriching moments of pause and reflection. The series finds a finishing point with the bright, opulent Neon Boneyard...

In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, to sprawling landscapes and unique architectural elements, this exhibition is a visual road trip from Los Angeles to Las Vegas. These paintings stem from Moore’s personal travels and open up a collective conversation about wanderlust. In these works, she revisits her former home of Los Angeles to shed a new light in juxtaposition to the bare California desert and the opulence of Las Vegas. This exhibition reflects a shift to new subject matter as well as a new artistic chapter that has been evolving within her work over the last two years. Moore’s process has progressed to become larger in scale, and more delicate in detail. This series of paintings offer trompe de l’oeil moments in combination with gestural brush stokes that reveal the artists hand. With a more increased focus on architectural elements, this exhibition amplifies features that were often muted in her earlier landscapes. With the exhibition title “All Those Who Wander”, Moore is leaving an option for the viewer to place themselves in the wanderlust narrative, or to observe it from afar. Moore believes we have a collective desire to explore and, in turn, we often daydream about our travels. This often creates a dream-like quality to our memories which results in a romanticized narrative within our minds. The reality of a place often doesn’t matter, it’s the memory of our experience there that sticks with us. We often like to sit a little longer with the most romantic and the most opulent visuals we have in our minds. Beginning with Los Angeles noir, the viewer is introduced to old Hollywood architecture blended with images reflecting the known edginess of the city. Familiar Hollywood landmarks are explored in a new light and we are left with a subtle sense of nostalgia as the viewer moves through the works. The bright desert landscapes lead into the “in between”; these are the lands that are on the way to somewhere else. Just as important as the beginning or the end, the transitional parts of a road trip often leave space for the most enriching moments of pause and reflection. The series finds a finishing point with the bright, opulent Neon Boneyard...

In this new series of paintings, Moore explores themes of wanderlust and memory. From glowing neon signage, to sprawling landscapes and unique architectural elements, this exhibition is a visual road trip from Los Angeles to Las Vegas. These paintings stem from Moore’s personal travels and open up a collective conversation about wanderlust. In these works, she revisits her former home of Los Angeles to shed a new light in juxtaposition to the bare California desert and the opulence of Las Vegas. This exhibition reflects a shift to new subject matter as well as a new artistic chapter that has been evolving within her work over the last two years. Moore’s process has progressed to become larger in scale, and more delicate in detail. This series of paintings offer trompe de l’oeil moments in combination with gestural brush stokes that reveal the artists hand. With a more increased focus on architectural elements, this exhibition amplifies features that were often muted in her earlier landscapes. With the exhibition title “All Those Who Wander”, Moore is leaving an option for the viewer to place themselves in the wanderlust narrative, or to observe it from afar. Moore believes we have a collective desire to explore and, in turn, we often daydream about our travels. This often creates a dream-like quality to our memories which results in a romanticized narrative within our minds. The reality of a place often doesn’t matter, it’s the memory of our experience there that sticks with us. We often like to sit a little longer with the most romantic and the most opulent visuals we have in our minds. Beginning with Los Angeles noir, the viewer is introduced to old Hollywood architecture blended with images reflecting the known edginess of the city. Familiar Hollywood landmarks are explored in a new light and we are left with a subtle sense of nostalgia as the viewer moves through the works. The bright desert landscapes lead into the “in between”; these are the lands that are on the way to somewhere else. Just as important as the beginning or the end, the transitional parts of a road trip often leave space for the most enriching moments of pause and reflection. The series finds a finishing point with the bright, opulent Neon Boneyard...

Gina Phillips is a mixed media, narrative artist who grew up in Kentucky and has lived in New Orleans since 1995. The imagery, stories and characters of both regions influence her wo...

Framed: 20h x 18w in ABOUT THE ARTIST Adam Mysock was born in Cincinnati, Ohio in 1983 - the son of an elementary school English teacher and a lab technician who specializes in the...

In the past decade a series of big issues have emerged to define our times; we see demonstrations erupting somewhere every day. Interestingly, in a digital age, graffiti and slogans ...

In the past decade a series of big issues have emerged to define our times; we see demonstrations erupting somewhere every day. Interestingly, in a digital age, graffiti and slogans ...

In the past decade a series of big issues have emerged to define our times; we see demonstrations erupting somewhere every day. Interestingly, in a digital age, graffiti and slogans ...

In the past decade a series of big issues have emerged to define our times; we see demonstrations erupting somewhere every day. Interestingly, in a digital age, graffiti and slogans ...

In the past decade a series of big issues have emerged to define our times; we see demonstrations erupting somewhere every day. Interestingly, in a digital age, graffiti and slogans ...

In the past decade a series of big issues have emerged to define our times; we see demonstrations erupting somewhere every day. Interestingly, in a digital age, graffiti and slogans ...