A History of Dispersals is a series of self portraits and abstract landscapes with local ecologies. In this collection of works on paper I recompose and reimagine Soufrière’s distinctive Caribbean landscape (home of the Pitons) using photomicrographs of plants growing in the London Docklands, connecting the origins of both of my parents through marine life and water. A minimalist enquiry, a pattern of sequential reductions using photo etching, chine collé and blind emboss printmaking processes. The full sequence explores notions of (degrading?) memory, imprinting, touch, distance, duration and the (in)durability, transformation and reconstitution of memory – and what remains: sense impressions, feelings, traces left by people and places that continue to change with me.

Adam Moore, Dispersal I (2024). Photoetching and chine collé on paper 565 x 375 mm.

Adam Moore, Dispersal II (2024). Photoetching and chine collé on paper 565 x 375 mm.

Adam Moore, Dispersal III – II – II (2024). Photoetching and chine collé on paper 565 x 375 mm.

Adam Moore, Dispersal III – II – III (2024). Photoetching and chine collé on paper 565 x 375 mm.

Adam Moore, Dispersal IV – I – I (2025). Photo etching and chine collé on paper 565 x 375 mm.

Adam Moore, Dispersal IV – II – I (2025). Photo etching and chine collé on paper 565 x 375 mm.

Adam Moore, Dispersal IV – IV – I (2025). Chine collé and blind emboss on paper 565 x 375 mm.

Adam Moore, Dispersal V – IV – VII (2025). Blind emboss on paper 565 x 375 mm.

Dispersal V – IV – VII (2025)

Blind emboss on Fabriano paper (monochrome white).

565 x 375 mm

Edition of 30

Exhibited in the group show Las Palabras, Somers Gallery, 2025, curated by Natalia Valencia Arango.

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