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Painting (MA)

Emily Moore

Emily Moore

lives and works in London

Emily has defined her own term 'Wildness' in Contemporary Painting

Selected Group Shows:

2020 Tommorow: London, White Cube Gallery, London, UK

2020 Final not over (Open Fields), Unit 1 Gallery, London, UK

2020 Without a Painter, The Fitzrovia Gallery, London, UK

2020 Snapshot, Hockney Gallery, London, UK

2019 Work in Progress, Royal College of Art, UK

For all inquiries please contact : emily.moore@network.rca.ac.uk

Contact

website

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Degree Details

School of Arts & Humanities

Painting (MA)

Sponsors

Colart

During my time at the RCA, I have explored and investigated my own term ‘wildness’ in contemporary painting.
 

For me the term ‘wildness’ in contemporary painting speaks both to my approach within my practice but suggests the state of contemporary painting through the lens of art history and its current context within the immediate conversations surrounding painting. This was evident in the show I curated called Snapshot which took place in the Hockney Gallery at the Royal College of Art in February 2020. 

The Show had over 100 pieces submitted, by the current student body and staff from the Painting department at the Royal college of Art. For me, this show embodied the idea of visual language in 2020 being a nucleus of extended ideas, philosophies, lived experiences, systems that all cross pollinate one another whilst coexisting and thriving. 

This is echoed in my practice and through the living definition of wildness; I feel my approach to the studio is similar to that of a natural untamed landscape. 

Its beauty is seen through the complexities of the unknown. The unsystematic, rural, ruggedness of a space that is hidden in the uncertainties of what you might find. The layers of old trees and soil with the explosion of new flowers and weeds all growing alongside one another at different speeds, volumes, heights, textures and so on. Whilst all coexisting under the guise of painting. 

This explorative sense of wildness can be seen in my studio as I have no qualms about working through several different ideas or pieces of work at the same time. 

Sometimes this takes form through brush and paint to canvas; other times it is through yarn and weaving, or installation, play and performance. All is rooted in the notion exploration. One thing that is guaranteed is that there is no set pattern of actions in my studio. Everything is intuitive and bucks the system of the previous moves, or the surrounding current body of work 

This can be physically felt and visually seen when you enter my studio through the vast array of materials and mediums that I explore in my practice. 

For me the studio often holds the idea of potential without a clear and fixed articulation of it. There is an idea and a residue of process that gives form to the possibility of an object, place or structure. But this has a feeling of aliveness–wildness–a changeable nature where a work grows and develops both its form and function. The theatre stage waiting for undesignated characters to populate it and take up positions of visibility (the child’s coat on the stand is at once a potent symbol of the power of children’s honesty as well as a caution to the abuse of power) 

The constant thread that runs through my studio is a maker’s spirit. This constant evolution of reactive gestural mark making through different materials and mediums. 

To touch and manipulate a material or surface to find the "spirit" within, when making (to find the cabinet within the wood rather than impose the cabinet on the wood) to allow an idea to cross-pollinate or flow across materials (like a vine or ivy following the contours of a derelict building, but softening and changing its lines and form over time) to weave histories back on and through themselves to allow new forms to grow from chance collisions and different speeds of manipulation. 

Craft as an underlying language or unwritten voice of community that itself evolves through the act of making and passing on of skills–this is part of my ethos. 

This thought is very much entrenched in my experience as the Daughter of a French polisher whose speciality is the restoration of Antique furniture. 

The language from Antiquities has helped to form part of the foundation to my visual language. Helping to inform my knowledge and relationship to Art within its different periods in time, but also seeing and understating its position and relationship to today. 

Two Chairs Two Lovers 2019 — A Contempoary Love letter between Malevich and Myself

[untitled]

footprint1

A contempoary Lover letter between Malevich and Myself
chairInstallationloveMaterialitypaintingPerformanceSculpture

Untitled self - portrait 9 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self- portrait 10 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self- portrait 4 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self portrait 3 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untilted self Portrait 2 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untilted self Portraits 1 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self portrait 6 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self portrait 8 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self -portrait 7 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Untitled self - portrait 5 2020 — Let my people go Series 2020 Oil paint on handmade Sugar cane paper 70cm x 50cm

Let my people go Series 2020

A series of Self Portraits
Oil paint on handmade Sugar cane paper
70cm x 50cm

Tabernacle 2020

Tabernacle detail 2020

Tabernacle detail 2020

Somebody 1 2019 — 46cm x 33cm

Somebody detail 2019

Somebody 2 2019 — 46cm x 30cm

Black Woman and Child 2020

Black Woman and Child detail 2020

Black Woman and Child detail 2020

Tabernacle 2020
Tapestry piece that was made during the first few weeks of the covid 19 lockdown whilst I was self isolating at home.
128cm x 65cm

Black Woman and Child 2020
Tapestry that was made during the covid 19 lockdown in reference to the Black live Matter protests.

66cm x 63cm

modes of deception

Freedom7 2020 — Let my people go series 2020 Indian ink on handmade sugarcane paper 70cm x 50 cm

Let my people go 2020 — Let my people go series 2020 Indian ink on handmade sugarcane paper 35cm x 25cm

System Let my people go 2020 — Let my people go series 2020 Indian ink on handmade sugarcane paper 35cm x 25cm

Blank Let my people go 2020 — Let my people go series 2020 Indian ink on handmade sugarcane paper 35cm x 25cm

Pharaoh Let my people go 2020 — Let my people go series 2020 Indian ink on handmade sugarcane paper 35cm x 25cm

Chained 2020

detail

detail

Crochet

Collaboration with Patsy Moore My Mum during the Covid 19 lockdown using zoom and facetime to communicate our ideas. Based on the system of the black square.

205cm x 195cm

New wine series 2019

I am a Black Black British Woman detail 2020

Untitled 2 wildness series — Industrial fence paint on canvas 55cm x 50cm

Black 1 untitled 2019 — Oil on raw canvas 60cm x 40cm

Untitled 3 wildness series — Industrial fence paint on canvas 55cm x 50cm

I am a black black british woman wildness series — Industrial fence paint on handmade sugarcane paper 70cm x 50cm

Untitled 4 wildness series 2020 — Industrial fence paint on canvas 41cm x 22cm

Untitled 1 wildness series 2020 — Industrial fence paint on canvas 55cm x 50cm

Black untitled 2019 — Oil on raw canvas 60cm x 40cm

Polo, wildness series 2020 — Industrial fence paint, charcoal and ink on canvas 85cm x 70cm

Untitled 2 wildness series 2020 — Industrial fence paint on canvas 55cm x 50cm

black 2 untitled 2019 — Oil on raw canvas 60cm x 40cm

This Body of work was made whilst I was at home during the Lockdown and the start of Black Lives Matter protests across the world and also some pieces were made before any threat of Covid 19 back in 2019.

Colart

Website:

https://www.colart.com/en/our-story/
23 July 2020
14:00 (GMT + 0)

HoP Around with Alexandria Smith

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