I recently stumbled upon the work of painter and print-maker Emily Moore, who graduated from Edinburgh College of Art in 2013. She has been awarded numerous prizes for her work; before graduation she won the Royal Scottish Academy Keith Prize for the best student work and was selected for the Saatchi New Sensations Longlist. Since graduating she has been awarded the Griffin Art Prize People’s Choice Award.
Moore takes a myriad of photographs on her travels in which she captures the landscapes she is witness to and often uses these as the starting point for her abstracted, geometric landscape work. As a landscape artist, she extracts the motifs and forms found in nature and contrasts them with the geometric shapes of the man-made world.
In her work, Moore uses a wide range of media to explore the relationship between the conflicting themes of nature and the man-made world. She works directly onto wooden panels in her paintings, building up her desired images in layers, but keeping certain areas of the natural wood underneath. A strong architectural feel encompasses Moore’s work, which mirrors the work I started making myself of the architecture here in Cornwall. Moore draws attention to everyday constructions such as pylons, block tower buildings and stairways and contrasts these with beautifully detailed drawings and marks to represent the nature that houses these man-made constructions.
Finding Moore's work has inspired me to go back to painting now that I have fresh ideas that can be explored with the medium. Her work seems to find a perfect balance between geometry and a looser, more natural mark-making approach, giving all of her paintings a harmony I was struggling to find in my own after Semester 1 hand-in.
Taking a break from paint allowed me to grow as an artist in terms of exploring the possibilities in print-making and how working with collage/in a sketchbook can develop my ideas in ways I couldn't have imagined. It's interesting to flick back to the beginning of my collage sketchbook and watch how my style has changed and developed since I began making them.
My collages are morphing more and more into discernible landscapes. I have been using collage to combine my cellulose thinner transfer prints, monoprints, tracing paper and ordnance survey maps together. I have then been drawing back into the collage with calligraphy ink, taking marks made from my landscape line drawing sketchbook. Now, I plan to make a new series of paintings using my collages as a starting point; taking this geometric, layered aesthetic I have been loving into the medium I enjoy working with so much.