Shawna Moore Art

Testament 44"x44" Encaustic--Finished

2011-08-06T10:11:00.000-07:00

Final Blues

2011-05-04T17:56:00.001-07:00

Texas Commission, New Phase

2011-04-07T19:17:00.000-07:00

;

Texas Commission, Initial Layers

2011-04-04T17:26:00.001-07:00

Suspension 40"x40" Encaustic

2011-03-21T15:05:00.001-07:00

New Paintings for Gallery Mar, Park City, UT

2011-03-16T18:10:00.001-07:00

In the Studio

2011-02-07T20:24:00.000-08:00

www.shawnamoore.com

Winter Work

2010-11-12T13:05:00.000-08:00

Newest Work

2010-10-28T13:20:00.000-07:00

each painting, 40x40, encaustic on panel

Scottsdale Commission

2010-09-25T20:07:00.001-07:00

72" x 72" titled "Journey"

Review from Mary Abbe of The Star Tribune

2010-06-07T11:41:00.000-07:00

"Shawna Moore must have a thing for old maps and documents, because her serene abstractions suggest landscapes of cartography and literature. Poetic and glowing, their waxy encaustic surfaces are polished to a luminous sheen through which glow a delicate palimpsest of calligraphy, trailing scratch marks, lace and other intricate verbal and visual gestures. Elegantly understated."

http://www.startribune.com/entertainment/art/993700364.html?page=2&c=y

Circa Gallery in Minneapolis

2010-05-03T16:32:00.001-07:00

New Work for Circa Gallery in Minneapolis

2010-04-29T05:14:00.001-07:00

Gallery MAR, Park City art gallery

2010-03-30T08:21:00.001-07:00

Click here to view these pictures larger

Shawna Moore Art joins evolve interiors in Missoula, Montana

2010-03-07T08:25:00.001-08:00

Commissions available, contact Robyn at evlove interiors
http://www.evolveliving.com/

Starting the New Year with Art

2010-01-06T15:13:00.000-08:00

विंटर इमागेस फॉर थे न्यू इयर

2009-12-18T12:12:00.001-08:00

B I C A GALLERY Bend, Oregon

2009-12-04T09:56:00.001-08:00

http://bicagallery.com/

New Wax Works in BICA Salon Show

2009-12-04T09:34:00.001-08:00

Each panel 10x10 inches with beeswax, Nepali rice paper, collage of maps, canabalized book pages and original caligraphy.

Nepal Inspirations

2009-10-14T22:55:00.001-07:00

With a new understanding of Devangari script and a big fat roll of Nepali rice paper, I head back to the studio with a head full of Sherpa smiles and endless skies. (photos courtesy of Paul Gabbert)

Gallery Mar, Park City, Utah

2009-09-08T10:35:00.000-07:00

Fluxus 30x20 and Spinoza 40x60, for more inventory view: http://www.gallerymar.com/artists/shawna-moore/

Shawna Moore featured on Artist Spotlight

2009-08-25T17:27:00.001-07:00

My new show was recently reviewed on Artist Spotlight, click here to read the review: http://www.artistspotlight.blogspot.com/

Whisper, encaustic on panel, 40x20

Mosaic Installed and Darnell Fine Art

2009-08-25T17:03:00.001-07:00

http://www.darnellfineart.com

Broken Thread, 40x40, Praxis, 40x60 and Full Circle, 40x40 upon entering the gallery

The four seasons from the right

Spring, Summer, Autumn and Winter, 60x40 each, sculpture by Claire McArdle

The four seasons from the left

M O S A I C at Darnell Fine Art

2009-08-11T12:47:00.000-07:00

Cherry Blossom 40x20

Full Circle 40x40

Genesis 40x30

Empty Bowl 20x20

Bluehour 20x20

MOSAIC--Opening August 21, Darnell Fine Art-Santa Fe, NM

2009-07-13T21:12:00.000-07:00

Artist’s Statement

This work deals with bringing together individual parts that when viewed in isolation have a less recognizable value but when combined in the montage of a multi-layered painting, the separate parts unite to make a whole. The idea of creating wholeness from of a collection of scattered, broken or cast-off pieces interests me on a metaphoric level and fuels my creative aesthetic.
I have been including elements of cursive handwriting superimposed across the surface of the paintings. When writing or marks are laid over previous layers, the result is that both passages appear simultaneously, although one may partially obscure the other, creating effects which I may not have predicted.
Cell phones, text messaging and computers have left little place for the script of the hand, thus inviting an investigation into writing’s long history and perhaps limited future. The looping form of a cursive “g” becomes as suggestive as a piece of bent wire imprinted into the wax surface. The weathered parchment colors and Asian calligraphic form ask the viewer to reference their own relationship to paper and pencil or words.
Using chains and wire to draw and make marks linked with the random movements of a bamboo brush are ways to explore the results of uncontrolled elements. This creates a unique visual statement when combined in a particular order. Often, we do not know how behavior or activity affect the people and places around us. I can experiment and ask myself over and over, “What happens when I do this?” The accumulation of artistic decisions and mistakes gives me a point of reference on the passage of time and the nature of my mind.
Mosaic describes the constant evolution that I desire in my work and is based on the change and buildup of all the influences that have come before.

New Work for Santa Fe Show

2009-07-06T10:19:00.001-07:00

Details from Genesis 40x30 encaustic on panel

2009 Work in Progress

2009-06-08T13:36:00.000-07:00

Snap shots from current work in progress in the studio.

Axiom and Territory Chosen for Montana Triennial at the Missoula Art Museum

2009-04-16T06:54:00.000-07:00

Axiom (top) and Territory, both 40"x40", encaustic on panel

Inspiration from Baja California Sur

2009-03-02T11:05:00.001-08:00

Wind Horse Installed

2008-12-12T15:08:00.000-08:00

Details of a collaborative project with artist Madeline Shinn Boyle

2008-11-25T13:08:00.001-08:00

Beeswax, Japanese rice paper and pigment on panel

WIND HORSE COMMISSION--based on the energy of Tibetan prayer flags and the essence of fire, earth, water, air and space.

2008-11-12T10:54:00.001-08:00

Detail of upper panel, finished size 50" x 90"

Detail of central panel, finished size 84" x 35"

Detail of left panel, finished size 42" x 74"

Left panel in the studio and in progress...

Shawna Moore in Park City, Utah

2008-10-14T09:00:00.001-07:00

Installation at Gallery Mar, 580 Main Street

Whisper 40x20, Token 40x40, Exum 40x20--encaustic on panel

Santa Fe Exhibition Installed

2008-09-19T21:18:00.000-07:00

Axiom, Rubric and Bell Curve (SOLD)

Tempio

Fahrenheit and Idiom (SOLD)

Circa (SOLD)

Takeaway

Fahrenheit, Idiom (SOLD) and Tempio

Oracle (SOLD) and Locus

Axiom to the right of Shawna Moore's working DVD

Rubric and Bell Curve (SOLD)

Bell Curve (SOLD), Orison and Oracle (SOLD)

ORISON--Opening Friday September 19, 2008

2008-09-18T07:26:00.000-07:00

Darnell Fine Art, 640 Canyon Road, Santa Fe

"Turah" 60x40, encaustic on panel

"Alibi" 60x40, encaustic on panel

"Fahrenheit" 48x48, encaustic on panel

"Bell Curve" 40x30, encaustic on panel (SOLD)

"Weld" 40x30, encaustic on panel

Photos courtesy of Heath Korvola Photographic

ORISON--Prayers in wax coming in September to Santa Fe, NM

2008-08-31T16:03:00.000-07:00

I first encountered the word “Orison” in a book of daily devotions that I use to begin my morning meditation. I had to look the word up to find out that it meant prayer. I wrote the word down, and kept it by my desk thinking it was unique and perhaps a good title for a painting. Under the watchful gaze of that scrap of paper I developed the work and concept for my current show at Darnell Fine Art in Santa Fe. Orison relates to the very essence of painting and mindfulness. Each painting is a process of directly approaching a color combination, an abstracted idea or design/decorative strategy with boldness, curiosity and an openness to a variety of results including failure. My interest in the world’s wisdom traditions, artistic history, poetry and calligraphy provide the backdrop to the direct input from daily life. Moment by moment, day by day, focused, and concentrated effort define mindfulness practice and become a method for imparting change to subconscious and overall outcome in my life and art. Walking the beaches of the south China Sea picking up chards of indigo painted white porcelain, noticing the beauty of the beat up orange patina of our local yoga studio wood floor as I practice, or finding a piece of rusty expanded metal with endless artistic possibilities as I ride a red horse across verdant alfalfa fields with my daughter under Montana’s big sky are as important to these paintings as the 1000s of hours I have spent melting, coloring and manipulating wax over the years. Watching, learning, accepting, being…how can I help but notice that it all looks and feels like an answered prayer?

O R I S O N -- Images behind the paintings

2008-08-31T14:08:00.001-07:00

What in the World? Experiments with maps and wax!

2008-05-22T10:59:00.000-07:00

Cipher, encaustic and tea stained maps on paper, 22x30

detail of Cipher

Lunaticus, encaustic and distressed maps on paper, 32x20

detail of Lunaticus

Encaustic Invitational Installed

2008-05-05T15:16:00.001-07:00

Painting by Joseph Goldberg

Painting by Joseph Goldberg

Paintings by Sara Mast and Joseph Goldberg

Painting by Sara Mast

Paintings by Wendy Franklund Miller

Paintings by Leslie Van Stavern Millar

Painting by Leslie Van Stavern Millar

Painting by Shawna Moore

Paintings by Shawna Moore

Paintings by Suzanne Truman

Paintings by Wendy Franklund Miller

Paintings by Shawna Moore and Suzanne Truman

Paintings by Suzanne Truman

Paintings by Joseph Goldberg and Shawna Moore

Missoula Art Museum "Encaustic Invitational"

2008-04-14T18:07:00.000-07:00

RUBRIC AND IDIOM IN THE STUDIO 60" x 60"

The Encaustic Invitational showcases six artists from the region who have chosen encaustic as their primary medium. Curated by MAM Curator of Education Renee Taaffe, all of the artists invited are well established and have been exhibiting their work for many years. Some of these artists have worked with encaustic for decades, whereas others are relative newcomers to the process; all are still exploring the possibilities of this ancient medium. The artists invited to participate are Sara Mast, Leslie Van Stavern Millar, SHAWNA MOORE and Suzanne Truman, all from Montana, and Joseph Goldberg and Wendy Franklund Miller from the Spokane area. Encaustic is experiencing a revival as more and more contemporary painters discover its versatility and richness of texture and depth. The application of layers of wax and pigment allows for a deep foundation of image and color. The adhesive and translucent qualities of wax used in the process allow artists to add collage and textural elements to the image. The encaustic medium involves the layering of molten wax with pigment to build up an image. As the word suggests, (Greek: en+kaein-�to burn in�) the encaustic process involves an application of heat. In ancient times, this may have been achieved by repeatedly heating metal spatulas and keeping the wood or coal flame hot under pots of wax. Today encaustic artists keep electric irons, hot plates and blowtorches on hand.
Those of us who are familiar with encaustic probably remember the reference to the Fayum funerary portraits from an Art History survey class. These portraits, done in the first and second centuries CE in Egypt, depict life-like, dark-eyed faces that after two millennia retain their vivid colors and vibrancy. The process of encaustic fell out of vogue as the more direct, cheaper and faster mediums of tempera and centuries later oil paint became the primary mediums for painting. Encaustic experienced brief revivals in the eighteenth and nineteenth centuries. In the twentieth century several painters experimented with encaustic including Roualt and Delauney and later Rauschenberg, Julian Schnabel and especially Jasper Johns. The medium of encaustic has recently gained popularity as it lends itself to the contemporary urge to layer found images and to create densely textured surfaces with minimal imagery. This is the first exhibit at MAM solely devoted to encaustic work. At first glance many of these artists seem to have a similar aesthetic and approach. Moore, Truman, Goldberg and often Miller all create work within a reductivist mode, usually with little representative imagery. The complexity of the painting appears as one looks closely at the work and notices the depth of the surface and multiple layers of color and texture embedded within. The medium of encaustic lends itself to mimicking and evoking natural surfaces and the connection is only reinforced by the scent of beeswax that accompanies most encaustic work. It is not surprising that an overarching element in this exhibition is the influence of the natural environment, particularly in the work of Mast and Millar, and the artists� representation of images may have the quality of being both a macro- and microcosmic view of the world. Whether the wax medium stems from the body of a bee or a vast petroleum field, the works draw us in to take a whiff and look closer.

Renee Taaffe, Curator of Education

Lyndsay McCandless Contemporary--Jackson, Wy

2008-03-19T21:21:00.001-07:00

Lyndsay McCandless Contemporary, Jackson, WY

"Gaucho" 40x30 (near left) and "Into the White" 60x40 (far right)

"Mahjong" and "Dragon" each 30x40 (left)

"Me Listen" 40x30 (right)

February 2008, Whitefish, Montana

2008-02-27T11:54:00.001-08:00

Photo courtesy of Heath Korvola Photographic

www.heathkorvola.com

Currently on Display in Whitefish, Montana

2008-01-05T14:21:00.000-08:00

Women and Wax, Juried Encaustic Show, Whitefish, Montana 2007

2008-01-02T10:55:00.000-08:00