Brad michael moore
1 member found
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Brad Michael M...
United States
12 creative works found
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“Digital Rendering © Brad Michael Moore 2008”
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“My Native Parchment Series” © Brad Michael Moore 2008—I did not do a historical study and image search of ancient parchments before I began this series. I tried to remember what I know. This series is idealistic. Many true parchments are filled with cracking, holes, extreme fading and bleed-through. The earlier papers were not white – but gray and yellow an very pulpish. Like any drawing made going on through history, often, the edges were left unworked so to provide some working surface space for testing medium, notes, imperfections and so on. The inside of animal hides were first used… Paper made from wood pulp was well along when the Monastery Monks began to do their color illustrations – boarders were fairly standard – and within their illustrations – especially the color ones, no space was left untouched. These works would have light colored boarders. Many an illustration’s life began bounded in a book – later to be pilfered by criminals, and those who lust for what they cannot create for themselves. These pages got rolled, folded, hidden, sometime in caves, behind stones, under earth for periods, or open to elements in porous enclosed spaces, available to insects, rodents, and finally age. One of my works is a stack of parchments, by intention. So, in truth, most old parchments are monotoned – center to edge, except for their painting and calligraphy. Crumpling would destroy any old parchment – they would have been most damaged in their earliest times of pliability – before being lost, forsaken, or forlorn. Sometimes, to better protect a parchment of importance, it was rebounded, or rolled in other parchments or leathers – and indeed, the hides of animals themselves were still used as writing material and more often, as protective coverings for the more fragile documents and maps as they came to be known. The idea of hide usage is suggested in several works including the, “Canyonlands” piece. Even today – some artists buy materials from fabric markets and paint on the backside of those materials – as if they were man-made hide. This piece looks like such, but, actually, its rock with some bone…
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Inspired by the colors and landscapes – the cave paintings and rock carvings – ethos of those lost civilizations of the USA New Mexico region. – BMM
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The sphere has always held a special interest to me. When I was 13 years old, – around the summer of 1965, my brother, and several childhood friends – out for and evening stroll, witnessed what had to be an exploding star – it turned the baseball field, at the camp we were crossing in, brighter than day – and when I looked up to the heavens – a blue white day-like sky quickly the light turned into a receding and darkening halo – like a circle of prism reflection in the night sky. The light ring (brighter on the inside than the outside) quickly shrunk to the size of a large planet and disappeared. There is a name for these phenomena, Super Nova. This image has never been lost on me, and I have always been interested in spherical forms every since.
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As a Born-Again Visual Artist, I was destined, by birth, to have one foot set into two different generations of art history. One side of me was raised on the Analogue milk tit, and the other side followed – learning to breath under the surface of a digital buzz of bits, gigs, and ram dimms… The key to surviving in both worlds, for me, has been a story as much about observation, as it has been over implementation. My experience in the music recording business, with Russell Berger, in the mid to late 1970’s, perhaps was my most essential primer. The digital convergence arrived at our recording console as a forewarning to me, personally – that my analogue explorations, in the image capture realm – in which I was also exercising, would come to meet an eventual digital intervention as well – a decade later. That sagacious voyage was one I was prepared for – as I knew my journey through the world of image capture would grow to become a continually amending sojourn. And so it has. Accordingly, in this moment, I slow, and take in a greater apprehension of it all, and what my pliability to the nature of my perceptions has made of me – a maker of Digital Artifacts. – Brad Michael Moore 5/29/2008
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British Columbia, 1979. I began taking nature images as a 6-year-old with my grandmother’s twin-lens Argus – that was back around 1958. I began seriously photographing (in earnest) around 1967 – alongside the coming days of Woodstock, and, “The Summer of Love,” (1969). Nature became my keen interest by 1975, and held my primary concentration for another ten years. Thereafter, I became curious in manipulating my landscapes, altering, enhancing, and even growing my images into an art beyond their own realism. – BMM
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Yellowstone Lake, “MultiPlex Series” MultiPlexing represents a process of mirroring and unfolding an image to observe its hidden symmetrical qualities. I apply the process to a wide range of subjects, transforming simpler random forms them transforming them through additive processes into new structures of balance and symmetry, revealing new meanings. Sometimes, I destabilize the course via additive visual notions that slightly skew the image equilibrium. I began practicing the MultiPlexing art form piecemeal (by the single analogue photo image process) in the darkroom – a very laborious exercise. Digital processes makes things much easier. My first exhibitions of MultiPlexes (in the form of photo-assemblages) were shown in 1984, in Dallas, Texas, at the Turtle Creek Gallery, and in 1987, at the Houston Center for Photography. This work, perhaps seeded from Op Art, seeks to be more than a Rorschach Test, more than a wallpaper. I search, through the mind-friendly medium of repetition, to uncover formal beauty in an external world of randomness.
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Digital Artifact by Brad Michael Moore © 2008
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Digital Artifact, “Dream Angel” © 2008 Brad Michael Moore
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“Circle Drive” © 1979-2008 Brad Michael Moore / South of La Vita, Colorado USA
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“An Afternoon Nap” © Brad Michael Moore 2008
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Digital Artifact from Digital Capture. Artist Printed.
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