Live in room (2024)
Overview +
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
In September 2023 – January 2024 I was the inaugural V&A East X Bow Arts Artist Fellow researching local ecologies, materials, and manufacturing histories in Newham at the London Docklands.
Adam Moore. Royal Albert Wharf portrait by Edward C Ball. Newham, London (2023).
Background
I was born in Newham. I grew up by the Docklands. I started a new job at the Docklands lecturing in Fine Art at the University of East London at the same time that I began my fellowship in residence at Royal Albert Wharf.
I’m comfortable here. Endlessly curious about, and comforted by, the remnants of the familiar, perpetually changing post-industrial landscape. The redundancy of old factories, architectural traces of the histories and activities of a bygone era, slowly disappear or become repurposed, I don’t mind it. I like it. Visually and spatially, at least. I identify with the Docklands. Seeing the place aging, aging with it. It’s home, I’m at home there. I see galvanised and corrugated metal and remember my dad, his work in East London, and my other home in Saint Lucia. Nesting between derelict factories, new developments and infrastructures it’s lively to live here by the water. I like it so much. I experience the irreconcilable and cruel afterlives impacting people and the environment, the wake of the passage of violent extraction, delivered and received at what once was the port of empire. Entangled beyond representation and metaphor I live and learn to resist and heal towards something greater at the waters edge. Ecologies. Architecture. Communities. Materials. Trade and travel. Future and past. Converging. Me with it. The connections between human, ecological, and material histories locally and globally are intact. Sugar, timber, oil, extraction, exploitation, slavery, capital. Booming, then bust, then forgotten and ignored, the Docklands is now London’s ‘enterprise zone’. I feel the complexity of this place is Intimately, like the water in my cells.
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
The right opportunity
I’d explored relationships between people, places, and pluriformities in recent residencies and projects with heritage sites. Diaphanous (2022) is the outcome of my participation in the Pleasure Ground residency at Ingestre Orangery in 2021. My text DisSolution (2021) was commissioned by Daniel Lie’s Rotten TV and Jupiter Artland. Both works reflect on the entangled impacts of colonial violence and whiteness on collective interspecies pasts and futures. My video poem Supercritical, A Pslam (2021) commissioned by Theatrum Mundi and later published in A Love Affair (2023) focusses the love I feel close to water on my bike in my home part of the city and he sensory imaginations this place inspires that can temporarily transcend the afterlives of violence in the seat of empire and its ports of extraction. This love affair of mine examines water as a conduit for collective interspecies history and ancestry, a medium for interstellar travel, and symbol of transformation, and source of power and comfort.
Studio residencies at Hypha Studios, London (2022), and Jerwood UNITe at g39, Cardiff, (2022) developed my studio practice across ceramic and assembled sculpture, drawing and painting, applied art and design, film, and performance. My first institutional solo exhibition, Bright Dynasty (2022), at Phoenix Art Space, Brighton, followed these residencies. I showcased my accumulation of artworks across mediums in a robust installation activated by a solo performance series. This exhibition explored how identity is reciprocal and shaped by relations people, places, materials, and ecologies. This was my first experience transplanting experiential, embodied, and situated research and making into a gallery context at scale.
The multifaceted and myriad reciprocal relationships between people, places, and pluriformities is a curiosity, concern, and preoccupation within my practice that continues to grow. Exploring the London Docklands as the inaugural V&A East X Bow Arts artist fellow was the right opportunity for me to deepen my experiential and embodied creative practice and refine how I translate situated research into studio practice into artworks into exhibitions.
Adam Moore. Royal Albert Wharf portrait by Edward C Ball. Newham, London (2023).
Curiosities and Collective Research
Local, ecologies, materials — key words. What does it mean to be local, how can I articulate ‘local’ in my research? What is a local ecology? What is a local material? Location — another word that becomes a question. How can I locate — find, pinpoint, place — a place, ecologies, materials — and in relation, or relative, to what? Time becomes a question. When am I locating? Where am I locating — a place, ecologies, materials. When and where in time can I go?
Loose Ends
I curated Loose ends — Local Ecologies and Materials in Newham. A series of free panel discussions and open forums bringing together artists, designers, architects and cultural producers working across ecology and the built environment to explore local ecologies and materials in Newham.
Hosted by the Department of Architecture and Visual Art (AVA) at the University of East London’s Docklands campus, the forums invited local people, creative communities, and broader art and ecology enthusiasts to participate in transforming notions of what it means to be local and to work artistically with people, places, ecologies, and materials. Three gatherings across November and December helped me to broaden my understanding and discover different ways of working locally with ecologies and materials during my fellowship.
Adam Moore. Thames side, Royal Albert Wharf, Newham, London (2023).
Situated research
I walked and cycled from the Royal Victoria Docks to my studio at Royal Albert Wharf. I was building a detailed experiential map and archive of embodied memories and sensations. I used photography to document Docklands and manifest my embodiments. Informed by my embodied research overlapping themes grouping my photography emerged: architecture, infrastructure, materials and manufacturing, plant ecologies, water, and air space. I was curious about these different dimensions and how they related to each other and changed over time. I was writing reflections. I experimented with choreographic and spatial interventions, but, as autumn turned to winter, it was too cold to continue this thread of research the way I’d have wanted.
Adam Moore. Royal Albert Wharf portrait by Edward C Ball. Newham, London (2023).
Archives and Collections research
Parallel with my situated research I worked with the Victoria & Albert Museum Research Institute (VARI) and the V&A archives — with a special focus on the V&A Print and 20th Century Furniture Collections. I also worked with Newham Photo Archives in Stratford Library. Through archival documents and photographs I learned how the Royal Docks had developed from the early 1850s until now. I used the same loose categories to group my archival and collections research: architecture, infrastructure, materials and manufacturing, plant ecologies, water, and air space.
Competition design for bridge, Royal Victoria Dock, London, by Eva Jiřičná, 1996: details of section and elevation.
Local ecologies research
I reconnected with designers Biomatrix Water Solutions. I worked with them on a previous commission for Newham London. I curated an evening of performance, readings and screenings at the Royal Docks Floating Garden designed by Biomatrix. Deepening this relationship through my fellowship I learned about how Biomatrix rejuvenated water systems using local ecologies and found out exactly what ecologies were growing and inhabiting the Docklands and independently researched where these ecologies came from and when. I developed this research into drawing and painting and applied these designs to my screens.
Adam Moore, (work in progress) Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Studio practice: applied art and design
Combining archival newspaper adverts, photographs, architectural drawings, and my own photography I drafted a series of digital collages. I refined these and developed screen prints. I applied these prints as decoration to my hand-made, timber folding screens. The screens were inspired by furniture designs I found in the V&A 20th Century Furniture Collections.
‘Tents and figures’, also known as ‘Bathers in a Landscape’, painted by Vanessa Bell for the Omega Workshops, 1913.
Points of resolution
My solo presentation, Live in room (2024), is a suite of works. Two temporary spatial interventions at Royal Albert Wharf. Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024) and Embody every requisite (2024). Live in room (2024), a site-situated installation — and a meeting place for gathering and discussion, exploring ideas within my work, in the context where my research is focussed and where my work was created. And a series of performances activating the installation, choreographing with the Docklands’ past, present, and future, Now, Now, Navigate, Navigate. Ambient Scheme of the Docklands Autumn/Winter 2023-24 (2024)..
Adam Moore, Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Timber two leaf folding screen, archival photography, photocopy transfer collage on restoration fabric, timber, hinges 200 x 135cm. Spatial intervention installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Spatial intervention installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Now, Now, Navigate, Navigate. Ambient Scheme of the Docklands Autumn Winter 2023-24 (2024). Live performance lecture at Royal Albert Wharf studio, acitivting Live in room (2024) installation.
Special thanks to
Producer and Studio Manager Annabelle Joy Moore
Jamsheed Todiwala
Gaynor Zealey
Zoe Hodgson
the team at the Victoria & Albert Research Insitute
the V&A Collections teams
Newham Photo Archives team
Bow Arts team
Royal Albert Wharf community
Research and process +
for context: necessity and beauty
The studio was empty when I arrived. A sink hadn’t been installed yet. I needed to create the space I’d be working in. I needed furniture. During Jerwood UNITe at g39, Cardiff (2022) I’d learned how to design and make furniture. I got to work making my own. My entry point into designing and making furniture was first through discovering Enzo Mari during my BA in 2007. I made my first designs of his work in 2020. His utopian design philosophy resonates deeply with my practice and lifestyle. I can see parallels between his work and my socially engaged creative practice. I wanted to challenge myself and improve my technical design skills making furniture. It was interesting how the context gave my research a focus for making. I’m open to my practice being shaped by context and necessity, as well as dreams, desires, imagination. Both together feel most sexy for me. I use my pragmatism for finding practical solutions for interconnected problems with poetic forms and gestures. Utility makes relevant sense, art makes things beautiful. Both together make things meaningful. I ordered timber from the production budget. I made two tables and two benches from designs by Enzo Mari from Autoprogettazione. It’s a great book. Both copies that I’ve brought I’ve borrowed to friends and never seen again!
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore, designing a living space. Self designs modelled on Enzo Mari’s Autoprogrettazione first published 1974.
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
Adam Moore. Building a working artist’s studio. Royal Albert Wharf, Newham, London, (2023)
I had help to finish the benches from local designer Jamsheed Todiwala who had a workshop at Royal Albert Wharf, a key person in the creative community. The benches were more complicated to make than they had initially appeared, and there was a lot of knowledge and experience I didn’t have. Failing forwards I learned a lot from Jam, including the unmarked / missing angle from Mari’s design drawings (“always between 5 and 15 degrees, old school engineering used for bridge design”). With the benches finished I could finally sit down comfortably and carry on with work.
Adam Moore, Studio space over time, Royal Albert Wharf, 2024.
I arrived at the studio with the intention of deepening my embodied, experiential relationship with the local area, embedding myself in community with the pluriformities shaping the docklands now, and finding connections between my own history and identity in relation to this place I’d lived in close proximity to for so long. What is this place and who am I here now? When I wasn’t developing my workshop skills making furniture from Mari’s designs I was experimenting with different ways of noticing, navigating, recording, and embodying the docklands using photography, my senses, and reflective writing exploring how I could observe and archive the experiential, spatial, architectural, ecological, social, and material – the sensory and not strictly sensory dimensions of the docklands. These site-sensitive and situated research activities ran parallel to and continued throughout all my other research activities with the V&A collections, Newham Photo Archives, and my design work connecting me to the life of Royal Albert Wharf and around the docklands now.
My archive intuitively divided into categories:
1. Studio space over time
2. Built environment
3. Ecologies
And category 2 and 3 intuitively divided again into subcategories:
2. Built environment: Water, Public Space, Industry, Homes, Air space
3. Ecologies: Water, Plants flora, Air space
Some of these categories overlapped, for example, water. Sometimes I observed water as having a more direct relationship with architecture and infrastructure, water was shaped by the built environment the or rather the built environment had been shaped around the water, for example, the commercial apartment blocks that had been developed in recent years. At other times I observed water more as a vast, independent force beyond imaginaries of industry – on the south side of the studio where the Thames begins to widen, its banks flanked with unkempt wilderness as the river snakes eastward and eventually out to sea.
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Pump House, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Pump House Square, Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, air space. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, air space. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Ecologies, plants flora. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Ecologies, water, air space. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2023).
Printmaking
In preparation for my term of teaching at the University of East London dockland’s campus I’d begun experimenting with different printmaking techniques to expand how my students could apply and experiment with printmaking techniques in their work. There’s debate around the legitimacy of digital photo archives. Although my photo archives are organised and curated collections of accessible images with meta data, there are concerns around the storage and maintenance mechanisms, and long term accessibility, of digital photo archives, and the potential for loss due to hardware failure, file corruption, or accidental deletion, and hardware and software obsolescence and the need for ongoing maintenance to ensure accessibility over time. These are all concerns for physical photo archives too, or any physical archive for that matter – depending archive or collection it could be argued that all materials within them are degrading just at varying speeds – which arguably isn’t necessarily the case for digital archives.
Adam Moore. Collage, archival photocopy transfer test prints. Royal Albert Wharf, Newham, London (2023).
Creating archival prints from digital photographs
My technical printmaking research informed how I worked with my accumulating photo archive to renegotiate and transform some of this material into physical archival images through the use different printmaking processes. Architects in particular use photocopy transfer to create detailed spatial and architectural images and I wanted to connect and experiment with this tradition in my research documenting the built environment. Below are the first photocopy transfers I made using images from my photo archive. A pretty terrible first attempt to be honest; failing forward I improved my skills using this printmaking process practicing consistently during the fellowship at the UEL print workshop. I’ve included these first prints to show the starting point of the development of my skills with this technique and the evolution of the studio as a space for research and making. The primary colours and composition I like very much. There are a lot of windows to peer through, doorway and turnings to walk through, different kinds of portals to move through at Royal Albert Wharf and all around thee docks that fascinate me and I wanted to show and emphasise these spaces, openings, and frames for seeing and architectural, infrastructural, and ecological choreographies my print design.
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2024).
Adam Moore. Built environment, public space. Royal Albert Wharf, Newham, London (2024).
Adam Moore. Built environment, water. Royal Albert Wharf, Newham, London (2024).
Adam Moore. Collage, archival photocopy transfer test prints. Royal Albert Wharf, Newham, London (2023).
Adam Moore. Studio space with designs in process. Royal Albert Wharf, Newham, London (2023).
Discovering materials: informed by architecture
The light in the studio at Royal Albert Wharf was okay. Early autumn light reflecting off of the glass buildings around the square outside bounced through the studio windows. The studio windows were huge which was great because the studio itself was always in the shade of the buildings towering around it, so at least I could see how bright it was outside in the square. However, sometimes I felt hyper-visible working alone in the studio which could be uncomfortable. At the same time it was special being able to see the light and weather changing throughout the day and the different people living and working coming and going. Coincidentally, throughout my residency the apartment buildings close to the studio at Royal Albert Wharf were wrapped in a translucent industrial material while builders carried out maintenance work.
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
I’d see the apartments encased in opaque, industrial skin every time I’d go to and from the studio intrigued by what the builders were doing, the different work stations they’d set up outside on the ground floor, and why their work was concealed, what was the big secret?
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
Adam Moore, Built environment, Industry, Royal Albert Wharf, Newham, London (2024).
I found pleasure in watching the builders’ choreography, their yellow high-vis’ vests ascending and descending in spirals around the building, up and down and left and right underneath the veil on scaffolding towers they’d built that completely surrounded the building. It wasn’t for some time that it dawned on me that I was looking at the solution to my problem of hyper-visibility and the answer to how I could develop my design skills the entire time. I made a quick design sketch, a point of reference.
Adam Moore, Design for screen I (2023). Watercolour on paper 210mm x 297mm
V&A 20th Century Design Collections: resonant forms
I was designing a screen to obscure myself in the studio, hide what I was working on when I needed privacy that still let in light – like the material covering the apartment blocks. I was curious and excited about the idea of designing and making something spatial, sculptural, and mobile that I could easily move around the studio. Browsing the V&A collections I found the four leaf folding screen, ‘Tents and figures’, also known as ‘Bathers in a Landscape’, painted by Vanessa Bell for the Omega Workshops in the V&A Furniture and Woodwork Collection. I was taken by surprise by just how much I liked this… Object? Item? Furniture? Artwork? The more I studied it the more I liked it and it really made me think and transported me to another place. The shapes reminded me of bamboo sculptures I’d made for an exhibition. In my installation I was examining tetrahedron pyramid forms in ancient architecture, geometry, and nature. The figures reminded me of how I’d relate to these towering sculptures in my installation and the kinds of energy and movement they evoked. That form had followed me everywhere for a couple of years and here it was again in the shape of the tents with the figures bathing in a landscape, painted on Bell’s screen. I could see myself researching now at the docks, reflected in the figures in landscape.
‘Tents and figures’, also known as ‘Bathers in a Landscape’, painted by Vanessa Bell for the Omega Workshops, 1913.
Another screen that I found in the V&A Furniture and Woodwork Collection was the six leaf folding screen ‘Portrait of the Epps Family’, painted by Lawrence Alma-Tadema and Laura Epps. I visited the gallery to see the screen with the collections curator to learn more about it. From the domestic scene depicted in the painting, the landscape layout, the windows in the background showing parts of another building outside beyond the scene, the different people and those who had been ‘removed’, and the degree of (in)completion there was so much to study, question, and learn the closer I looked.
‘Portrait of the Epps Family’, oil on canvas on wood frame, Lawrence Alma-Tadema and Laura Epps, London, 1870-1871I. V&A Furniture and Woodwork Collection.
After meeting with the V&A Furniture and Woodwork Collections curator and studying the screen on display in the galleries I knew I had to design my own and that I wanted to create three designs and three screens: one focusing on the past, one on the present, and one speculating on the potential and possible future(s) of the docklands. Inspired by Omega Workshops I liked the idea of establishing my won workshop, and inspired by these two very different different painted screens I was curious and excited to experiment, design, and make my own set of screens. The inspiration for my first designs came from my research with Newham Photo Archives.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Adam Moore, research at Newham Photo Archives, December 2023.
Newham Photo Archives: the Docklands through time
From a broad range of research looking at photographs in the Newham Photo Archives I selected six images that I discovered that I felt revealed the varied ecologies, materials, and industrial history of Newham’s docklands: a timber yard – Thames Bank Manhattan Wharf prior to 1900, now West India Quay, close to what is now Canary Wharf; a marine bollard on the north side of King George V Dock from the mid-1980s graffitied with a political statement in Persian – an unexpected and exciting discovery connecting Newham’s docklands with the Arab world and referencing the global geopolitics of the time; the morning of the unveiling of Derrick Richardson-Lee’s peace statue at The Grove, Stratford in 1986; a Young & Marten Builders’ Iron Mongers advert from Wilson and Whitworth’s Almanack 1896, with a very interesting phrase/use of language/text; an image of the Channelsea River View South from Abbey mills c1900; and an image of the iconic Thames Barrier we see today, view from North Bank, 1989. I licensed a broad selection of photographs, including these images from the materials budget and signed the licensing agreement confirming the terms under which these images could be used and waited for the licensed images to be sent to me once the archivists had digitised them and processed my license agreement. When the photographs arrived I began designing a digital collage from the six photographs I’d selected and when I completed my final draft I made my collage into a screen print revealing the industrial, architectural, ecological, social, and material past of Newham and the docklands.
Adam Moore. Embody every requisite draft archival digital collage (2023).
This draft is close to what my final design looks like. Each photograph fascinating in its own right, it was an interesting challenge experimenting with such powerful imagery. Cutting, rescaling, repositioning and composing elements from each of them I was concerned that the result might not be as impactful as the sum of its parts. I was very happy with the final draft of my digital collage, it felt coherent and and balanced which is what I’d aimed for in the process. I loved the composition and the interesting juxtaposition of histories of Newham’s docklands. I was concerned how the digital collage might translate to print but once I’d finished making my screen-prints I was very pleased with the final result. Details were much clearer taking on a new significance, and the scale and materiality of the prints prompted different questions that related to the built environment of the docklands now and and evoked more powerful feelings than I could have anticipated or expected.
Adam Moore. Royal Albert Wharf studio. True acetate negative of section of archival digital collage for screen print. Royal Albert Wharf, Newham, London (2023).
Adam Moore, Embody every requisite (2023) detail. Screen print, archival digital collage, acrylic and oil on restoration fabric.
Adam Moore. Royal Albert Wharf studio with designs in process (2023).
Newham Photo Archives: Ecology’s recurrent histories
Researching with Newham Photo Archives I discovered that the borough where I was born, lived, and worked was prone to flooding, roughly every fifty years, photo archives showed floods in Newham in 1903 and 1953. The archives didn’t date back much further so it wasn’t possible to find out the frequency of floods beyond the proof that I had. Was Newham overdue a flood? Where did all the water come from and where did it go, what did it bring with it and what did it carry away? I retuned to the V&A archives and collections to see if I could find anything there about the Newham floods. I didn’t find anything related to the Newham floods, but I did discover a fabric print in the Textiles & Fashion Collection, a screen print, “Plankton”, by Gerald Holtom, made in 1951.
Screen printed cotton, 1951, British; Gerald Holtom Ltd. “Plankton”. V&A Textiles & Fashion Collection.
Biomatrix Water Solutions, Plankton, and Photomicrographs
Is this what plankton actually looks like magnified under a microscope? What life forms are there living in the docks now and what do they look like under a microscope? A commission for Newham Word Festival in 2022 saw the collaborative literary and spatial practice collective that I co-founded, Readings & Rituals, perform at the Royal Victoria Floating Garden designed by Biomatrix Water Solutions. I contacted the environmental design company to see what they could tell me, and began researching aquatic plant life growing at the docklands with them. I learned about all the different aquatic flowers and grasses they’d worked with to support the biodiversity of the docklands and found some samples to study under a microscope. From these photomicrographs and some original text I designed a screen print.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming, digital collage for screen print (2024)
I was hypnotised studying the cell forms and remembered how much I enjoyed drawing diagrams of cells in A-Level Biology, so I decided to use drawing and painting to create the final design for the last set of screens speculating on the future of the docklands. I’d planned for the work to be a print and I’d already cut my fabric into thirds to make it easier to register the prints on the print table. Painting and drawing across one large piece of fabric is much easier so I now I had to contend with the logistics of making a painting in a very impractical way and found this a huge challenge. The last screen didn’t get made in the end due to time but the process of observing, painting, drawing and writing with these ecologies was great way to spend time with and embody them in my work. Had I had more time I could have started again, perhaps actually made a print to see what this looked like and then painted it afterwards adding hand drawn details. I think that could be very beautiful and is something I will come back to soon.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Like all research there are avenues I got to look down but didn’t get to travel. I was able to have my fellowship extended by one month because of the initial bumps in the road that come with embarking on something new – The V&A East X Bow Arts Artist Fellowship was a first for the V&A East, Bow Arts, and for me. The following are some of the loose ends I’d like to gather up in the future.
Adam Moore,
Live in room,
Royal Albert Wharf
(September 2023 – January 2024)
Adam Moore, Study I and Study II (2023). Graphite, watercolour, graphitint on Fabriano paper 297mm x 420mm.
Adam Moore, Now, Now, Navigate, Navigate. Ambient Scheme of the Docklands Autumn Winter 2023-24 rehearsal (2024). Live performance lecture at Royal Albert Wharf studio, activating Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Touch is a doorway and portal Touch the surface, it’s a doorway and a portal Touch the surfaces, the doorways and portals (2024). Two leaf folding screen. Collage, archival photocopy transfer on restoration fabric, timber, hinges 200 x 134 cm. Spatial intervention installed at Royal Albert Wharf Pump House Square as part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Embody every requisite (2024). Three leaf folding screen. Screen print, archival digital collage, acrylic and oil on restoration fabric, timber, hinges 200 x 200cm. Installed at Royal Albert Wharf studio, part of Live in room (2024) installation.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Where has it come from, where did it go, when is it coming back? A glowy, kinda orange and green forthcoming (2024). Watercolour, soft pastel, pencil, and graphitint on restoration fabric, 200 x 200cm.
Adam Moore, Now. Now. (Navigate. Navigate.) (Ambient Scheme of the Docklands Autumn Winter 2023-24) (2024). Multimedia durational performance installation.
Adam Moore, Now. Now. (Navigate. Navigate.) (Ambient Scheme of the Docklands Autumn Winter 2024) (2024). Multimedia durational performance installation.
Adam Moore, Now. Now. (Navigate. Navigate.) (Ambient Scheme of the Docklands Autumn Winter 2024) (2024). Multimedia durational performance installation.
Adam Moore, Live in room (2024) installation.
Adam Moore, Royal Albert Wharf, 2024
Adam Moore, Royal Albert Wharf, 2024