This piece is part of a series of works created for a solo exhibition titled, ‘Cloud Games’. As children we sometimes played a popular game that you might know. In the game we’d lie on our backs, stare at the sky and see what images we could make out in the shapes of the clouds. I found it fascinating when my mind would see a cloud in one instant and then a dragon or a the profile of a face in the next and then flicker magically back to being a cloud again. I later learned that there is a scientific term for this phenomenon - ‘pareidolia’. It’s a psychological mechanism that we humans use everyday to create meaning in the world. The works in the series explore the threshold at which pareidolia occurs which seems to operate on a spectrum from abstract to meaningful depending on the subject’s state of mind. The paintings seek to evoke a similar experience in the viewer.
Composition with Crustacean
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Artwork Details
Medium | Acrylic, Canvas, Ready to hang |
Dimensions | 101cm (W) x 76cm (H) x 3.5cm (D) |
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Artwork Description
Artist Bio
Elwood Moore is a professional artist [painter] based in Melbourne, Australia. Moore works in a variety of media including oil paint, acrylic and print across a spectrum of traditional painting genres, including; abstract, still life, landscape, and portraiture.
His work draws on more than 30 years experience living, working within and closely observing Australian culture. 'Having worked as a commercial designer in graphic design and also as an architect, I have an ongoing fascination with Australia’s complex culture. I am interested in exploring the unique multicultural conditions that exist here and at the same time exploring my place within that context. Some of these themes include; our relationship with the landscape, the built environment and human-made objects that surround us and how our inherited European heritage influences have shaped our experience of our physical environment.'
'My attraction to the medium of painting stems from it’s directness and immediacy, but mostly it’s tactility. The act of applying paint to a surface has always felt very natural to me. And although I have explored numerous other mediums, I can’t help but return to this most visceral and plastic of mediums. Through years of experimentation, and much trial-and-error I have developed a process of building up a surface in layers that I push and drag with brushes and palette knives. This visual vocabulary of brushwork, layering and editing allows me to express myself effectively. I work on the assumption that as long as I engage emphatically with the process of making then the work will resonate with others.'