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The Sleep of Endymion or Moon Effect, 1791, Oil on canvas, 44" x 75", 2016
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The Misunderstood Energy of Jetta, Stone lithograph printed on Somerset 100% rag, 22.25" x 26", 2016
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Scootch Frolicking in Marie Antoinette's Cabinet of the Meridian, Versailles, Encaustic on birch, 34" x 26", 2014
Brenda Moore moved to Chicago from the east coast in 2003, and is represented by Linda Warren Projects. Moore received an MFA from American University, Washington, D.C. and her BFA at Moore College of Art and Design in Philadelphia, PA. Her work is included in corporate and private collections in the U.S. In 2014, Moore was the recipient of an Individual Artist Program Grant from the City of Chicago Department of Cultural Affairs and Special Events, funded by the Illinois Arts Council Agency, through federal funds provided by the National Endowment for the Arts. She currently teaches at The Chicago Academy for the Arts.
Mentorship is important in all lines of work, especially the arts. Who would you consider to be a mentor?
My mentors are all the teachers that told me to believe in myself, that I had something worthy to say. I pay it forward trying to instill the same in my students at The Chicago Academy for the Arts.
Can you explain your work? Medium? Technique?
I enjoy working in a variety of mediums. Trained formally in oil painting, I also work in embroidery, installation, sculpture, printmaking and video. Encaustic painting is my most innovative process. It is complex, intricate, worked both reductively and additively to create low relief works. My most recent exhibition included oil painting, stone lithography and a video work. I also conducted acts of immersive drawing in an oversized hand-bound artist book during gallery hours to explore the premise of the show.
Tell us about your early career. When did you know you wanted to be an artist?
For as long as I can remember, drawing has been a means in which to capture or preserve. As a child, I yearned to keep and possess a horse to the point of taking on its spirit. Back then, this yearning to be near horses was unobtainable. I started making art about this subject at age five to cultivate this desire. It was as if I believed a horse would magically materialize in my suburban backyard from performing this act. I drew horses constantly and performed elaborate acts of play imitating the animal. I received my first art critique on an early drawing from my grandmother: “If that horse was alive it would not be able to stand up on those legs.”
Where can someone see your work?
Online at www.lindawarrenprojects.com.