Joe Moss


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joe_moss1@outlook.com





Upcoming:

March 2020, An Heart, Catford Mews, London, UK - postponed due to Coronavirus




An Heart 2020 at no format gallery with Jane Davies

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
Huge thanks to Ezio Puglia for his work on fairy tales, specifically “Emerging interiorities: the fictional world of the Renaissance and Baroque fairy tale”, a large part of the radios voice is based upon this paper.

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



Slides from artist talk at Public Works residency as part of School of Civic Action, Tate Exchange, London, UK
2019



Cradling, 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 test 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