introducing the new and improved www.dominicpaulmoore.com.
critique and feedback are always welcomed, and check back for updates!
exsiteing times.....
ps. his show at Packer Schopf Gallery opens this coming friday, may 16 from 6-9. it's going to be quite the affair so you should probably put it on your calender to be there...
Alicia LaChance
more exuberance please
April 18th 5-8 pm
Ancient worn temples and the fluency of Japanese printmaking are the inspirations for artist Alicia LaChance's paintings. LaChance uses fresco on canvas, spontaneously painting layers as well as scraping into these works. As the pigment is stained into the wet plaster, the image and color start to appear. Afterwards, she transfers transparent glazes of oil onto the painting, creating a lacquered surface which adds to the Asian references.
The sepia toned nature expressed by using tar with resin also imbues an antiquated quality mixed with a strong graphic abstraction of color and shape. The powerful combination and reaction of color, shape and surface creates a visual tension of material and subject that lends dynamic energy to the painting. The vignettes of color and shape create a dialogue between the abstraction and the natural quality in the imagery of painting.
The fresco on canvas creates a tactile surface, juxtaposed with a shiny veneer. Combining color with the material translates an ancient undertone of material and immaterial as well as content of surface and substance.
LaChance's work was recently acquired by the Flat files, Contemporary Museum of Art, Saint Louis, Missouri. Her work is also included in many other corporate and private collections.
so yeah, come friday...
Melanee Cooper Gallery
740 N Franklin
Chicago, IL 60610
View Larger Map
The sepia toned nature expressed by using tar with resin also imbues an antiquated quality mixed with a strong graphic abstraction of color and shape. The powerful combination and reaction of color, shape and surface creates a visual tension of material and subject that lends dynamic energy to the painting. The vignettes of color and shape create a dialogue between the abstraction and the natural quality in the imagery of painting.
The fresco on canvas creates a tactile surface, juxtaposed with a shiny veneer. Combining color with the material translates an ancient undertone of material and immaterial as well as content of surface and substance.
LaChance's work was recently acquired by the Flat files, Contemporary Museum of Art, Saint Louis, Missouri. Her work is also included in many other corporate and private collections.
so yeah, come friday...
Melanee Cooper Gallery
740 N Franklin
Chicago, IL 60610
View Larger Map
Third time is a charm.
My third trip to New York was not filled with drama, hospitals, or spending the night in the airport (well, almost spending the night in the airport). Rather it was filled with excitement, perfect company, and enough art to keep me happy.
Perusing the art fairs of Art Now and Red Dot Fair was far more enjoyable than even I was initially going to give it credit. It was a great feeling looking at artwork, talking with gallery owners, recognizing familiar faces in an unfamiliar place, and feeling so content yet excited and motivated by these surroundings.
With a happy heart, I subwayed my way over to the Whitney, meeting one of my favorite professors that I had in DC. As we sat for tea, she and I spoke of where life had taken us this past year. I will always appreciate her advice. We parted ways and I scoped out the Whitney Biennial for a while. Wandering through the first two floors, taking in as much as I could, before I landed at the fourth floor to listen to a tour. Fabulous tour with unique perspectives. I think it was the fastest 45 minutes in my life.
Sunday's art consisted of a visit to the Guggenheim where the show entitled "I want to believe" by Cai Guo-Qiang dominated the exhibition space. Pretty great stuff though, as we walked our way up the spiral I felt more and more connected to the work.
A smaller exhibition off the main course, From Berlin to New York: Karl Nierendorf and the Guggenheim was also interesting to me. Saw some great Klee pieces and a Leger that were worth taking note.
The Guggenheim wrapped up the art I saw during my art-filled 48 hours in the city. And with this brief description of the art part of my trip, I conclude that it was a fantastic time.
My third trip to New York was not filled with drama, hospitals, or spending the night in the airport (well, almost spending the night in the airport). Rather it was filled with excitement, perfect company, and enough art to keep me happy.
Perusing the art fairs of Art Now and Red Dot Fair was far more enjoyable than even I was initially going to give it credit. It was a great feeling looking at artwork, talking with gallery owners, recognizing familiar faces in an unfamiliar place, and feeling so content yet excited and motivated by these surroundings.
With a happy heart, I subwayed my way over to the Whitney, meeting one of my favorite professors that I had in DC. As we sat for tea, she and I spoke of where life had taken us this past year. I will always appreciate her advice. We parted ways and I scoped out the Whitney Biennial for a while. Wandering through the first two floors, taking in as much as I could, before I landed at the fourth floor to listen to a tour. Fabulous tour with unique perspectives. I think it was the fastest 45 minutes in my life.
Sunday's art consisted of a visit to the Guggenheim where the show entitled "I want to believe" by Cai Guo-Qiang dominated the exhibition space. Pretty great stuff though, as we walked our way up the spiral I felt more and more connected to the work.
A smaller exhibition off the main course, From Berlin to New York: Karl Nierendorf and the Guggenheim was also interesting to me. Saw some great Klee pieces and a Leger that were worth taking note.
The Guggenheim wrapped up the art I saw during my art-filled 48 hours in the city. And with this brief description of the art part of my trip, I conclude that it was a fantastic time.
so i just booked my flight to New York, and even though i'm going to be gone for only a couple days, i'm kinda sorta very excited... : )
it's march 4 now, two days post the opening for Dominic Moore's MFA thesis show "You're Gonna Love It Here." i cannot find the words to give the show the justice/respect/praise deserved. comment as you wish about biasness, but these strong reactions are not from my lips alone. i wish i had recorded the talk he gave yesterday regarding his work. it was powerful.
below you will find Moore's artist statement as well as images from the show. enjoy.
below you will find Moore's artist statement as well as images from the show. enjoy.
What you see here...I remember from a very young age looking out onto the drive through the kitchen screen door of my Grandparents house. I must have stood there for some time; this memory is always present... I remember thinking intensely on the idea of my mortality, and I had this fear inside that prompt me to ask, "Grandma, when am I going to die…?" She looked at me, smiled softly and said, "Not for a very long time my dear!" This question has never subsided. This commonality we all share, and it's in this, that these images hold their weight. I feel that even though we struggle with the inundation of ideas and multi mediafication of mind numbing entertainment, this question still finds its way to the surface. In light of recent events here at NIU, the concept of foraging on is plastered all throughout the community. This will inevitably happen, and the curatorial presention deals with a way in which this occurs.
My work is about mortality. The images representing individuals in sterile clinical spaces subvert the original intention of what were medical journals/industry advertisements into the read of who is doing what to whom and why are they doing it; giving life or taking it? They also bring to mind the ongoing debate of Social Security, as well as; are we secure and should we trust those in our social spaces?
When we think of social spaces, we cannot leave out the online communities. And we must assume that these new communities are being forced to deal with the issues of mortality in a real way as well as the mortality of this artificial realm. The Myspace drawings are from an unaltered profile of a Myspace user that has died of a drunk driving accident in which she was driving. The full scope of this project is not so much about her, but about the way in which her online friends deal with their loss.
Their grief is self-voyeurism as it oddly reflects the communication they had with her via "Comments" while she was alive.
As it goes with most ideas about this human dilemma, people avoid or people gravitate towards a fix. Here I offer up the perfect blend. Masters of The Universe, my favorite childhood cartoon.
He-Man "The Most Powerful Man in the Universe" and the diametric "Evil Lord of Destruction" Skeletor allegorically mimic the (after-life) Judaeo-Christian tradition of good and evil. They embody the power we wish to hold over our mortality while offering an entertaining alternative to directly dealing with questions similar to that of, "Grandma, when am I going to die…?"
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