Home | Janie Moore

top of page

Home
Portfolio
About
More

Use tab to navigate through the menu items.

JANIE MOORE

Interdisciplinary Artist

Portfolio

Home
Portfolio
About
More

Use tab to navigate through the menu items.

A 3 metre high sculpture of an empty hooded cloak, made from dust sheets, and fabric hardener looms in the centre of a gallery. It represents grief and loss. The gallery floor is made of dark stone slabs, which contrasts with the off white of the sculpture, making it appear more ghostly. During the exhibiting period, the surface of the sculpture is written on by visitors, as they lay down their own remembrances on it with black marker pens. Some people have also drawn on the surface. The amount of ink builds up as more people leave their thoughts and ideas on grief, changing the colour of the sculpture to an inky black over time.

A drawn diptych, mapping loss. The largest piece is a 3 by 1.5 metre graphite drawing on paper. It is an aerial view of Nataruk, Africa. Bushes, trees, and tracks through the sand punctuate the arid landscape. Nataruk has been described by some archeologists as the first known site of inter-group conflict. The second part of the diptych is a small A6 graphite drawing on gessoed board. It shows the cellular structure of the heart of a person experiencing grief. The lines and dots of the tissues' cells and membranes mirror the landscape it is placed next to

This sculpture starts out life in the gallery as a wooden pallet on the floor. Then over the duration of the exhibition, household rubbish such as piles of old newspapers, cardboard boxes of 'stuff', and collections of empty cereal, tea, and washing powder boxes, gradually appear. Eventually a garden shed sized structure is created. Topped with an apexed roof of flattened cardboard. Shed, describes how the inability to let go can make for a safe space, that also has the potential to become an inescapable place. The sculpture has no door, no exit. One might be entombed within it

A video installation giving three-dimensional form to the spoken word. A shot of the artist's mouth appears centre screen. It moves towards the camera, and as it does, breaks through a surface of water. A word is then mouthed in the water, and milk escapes from the lips, in viscous strings, falling and billowing slowly down towards the viewer. The screen is now covered by the white of the milk, although it lies in swirls of differing density, which allows varying amounts of light through. Behind this layer, a gasp of breath occurs, and a shadow lifts, as the artist's mouth returns to beyond the water's surface. The scene fades to white, and to a new shot, where the process is repeated, but with a new word. There are several such shots, and they are presented on a continuous loop

A portrait doodled in black biro onto the backs of 34 collated envelopes, each containing memories of the sitter. The envelopes are different sizes, and various versions of white. They fit together in a kind of mosaic. The portrait is of the head and shoulders of a woman in her twenties. Her hair is thick and dark, and falls in layered waves around her face. The expression she wears is somewhat cheeky - as though a joke has just been shared, and she is smiling broadly, whilst looking directly out of the picture plane

An installation of a collection of moulded teabags on a kitchen sink. The sink is complete with taps, and is attached to the gallery wall just as it might appear in a kitchen. The teabags are piled up on the surface of the draining board. Their tea stained hue, contrasts with the shiny metal surface of the sink. They are squeezed into the shape of vulvas

Landscape pencil drawings on paper, incorporating site specific rubbings

A performance for two people, one at each end of the exhibition space. A series of washing lines delineate the space between them. The performer at the beginning of the space, has a large bowl of water on the floor. The performer at the end of the space, sits at a white table, writing onto sheets of thin fabric, with a black felt tip pen. The first performer takes the written sheet to the bowl of water. They crouch down to the bowl, feeding the fabric into the water. The ink at first bleeds into clear water, drifting away from the surface of the fabric like tendrils. Once all the fabric is submerged, the performer scrubs the remaining ink away. They then hang the fabric up on the lines to dry, and the process is repeated. Except the table, becomes more marked with suggestions of words, as the pen penetrates the fabric. The water becomes completely blackened as it contains more and more ink. And the ghosts of words can be seen faintly on the older sheets, as they hang in the space between

An installative portrait of Elizabeth Black, with a WWII trunk, and a pencil drawing. The black rectangular metal trunk is placed on the gallery floor. It has a small pencil portrait of a woman in 1940s US Red Cross uniform, placed on top of it. The drawing is backed onto a piece of buff card. It is meant to appear as a photograph of the period. The portrait is of the head and shoulders of a woman, perhaps in her twenties. She has the 1940s styled hair and shaped eyebrows, and wears lipstick. The uniform is made of dense material. She wears a triangular cap at a jaunty angle. The jacket has lapels and epaulettes, and underneath she wears a crisp white shirt. The emblem on the side of her cap is a small cross, of which there is another at the top button of her shirt. Her hair is fair, and wisps up in tight curls, either side of the cap. She smiles, looking off over the viewer, into the near distance

A full length self portrait made with wall paper lining and charcoal. Torn into pieces and screwed into balls, which are contained in a paper bag. In this image, the brown paper bag is displayed on a grey gallery floor. The white wall as backdrop. The bag sits to the right of the image, and is toppled over, towards the camera. Some of the screwed up pieces of paper have fallen out. They lie in a line, arcing towards the centre of the shot. The pieces of paper, have varying amounts of charcoal on them. The centre most one, has a discernible eye looking out from it

A found drawing on old wallpaper. This piece is hung on a white gallery wall, in strips, as it once hung in a room. The pattern of the paper is quite bleached, but vertical lines are apparent, with a floral motif set in between. The paper is also yellowed with age and sunlight, and perhaps nicotine. Traces of the furniture placed up against the wall are revealed in lighter sections of the paper. The main one being a wooden bedhead

Studio 24

Bloc Studios

Sheffield UK

© 2023 Janie Moore

bottom of page