Joe Moss


Info
Insta
joe_moss1@outlook.com



UPCOMING - Homegrown, Hauser & Wirth, July 10th 3PM
https://www.vip-hauserwirth.com/online-exhibitions/homegrown/



Don Quixote has a dream, 2020 (64 x 31 x 26 cm)
3D print, 37 sec animation, iphone, mdf, static grass, coir, clay, acrylic paint



An Heart (2020), with Jane Davies at no format gallery

 
Exerpt from press release

‘In this exhibition, Jane Davies and Joe Moss attempt to situate their craft-based practises alongside recent technological advancements. Their prominent relationship to decorative art practises will be juxtaposed against wall hangings, sustainably 3D-printed sculptures of the heart, and a grid based curatorial platform.  The grid-system is designed to exhibit the work whilst paying homage to the industrial histories of decorative-arts and envisage their non-hierarchical future together with digital and fine-art practises. The curatorial structure pays homage to artisanal labour and associated scaffolding, CAD softwares, and the 3D-printing bed.’





Image Credit: Phillip Speakman


Transcript of the story told for Tell 5, 2019

London School of Mosaic at Tate Exchange with School for Civic Action

https://www.publicworksgroup.net/log/1695/school-for-civic-action-at-tate-exchange-25th-28th-july-2019
https://www.lsomosaic.com/welcome



Slide from talk at Public Works residency School of Civic Action, Tate Exchange, London, UK
2019



Cradle, 2018 (39 x 34cm)
Travertine, slate, keraflex, pigment, ply



Sitting Saint, 2018 (38 x 31cm)
(study of an Orthodox icon of unknown origin)
Marble, travertine, keraflex, pigment, ply



Dumb, 2017 (116 x 82cm)
Marble, travertine, keraflex, pigment, ply, resin


Mosaics shown at School for Civic Action to accompany talk




The Midas Touch, 2019 (2:52)

A short video referencing opera in the Baroque style attempting to tell a celebrity story that parallels an ancient myth. Using a Baroque opera format to tell these stories is significant due to the history of the method of acting in this period. The method of acting included specific hand gestures formalised by John Bulwer in Chirologia, (1644). These hand signs can be traced back to the gestures in iconography during the Medieval and Renaissance periods, and their origin can be traced back to classical orators like Cicero during the ancient Greek and Roman civilisations.


shortlisted for 2019 The New Flesh Artists’ Residency / Commission, Lux, Academy Costumes, London, UK