Cecilia Moore

 

Cecilia Moore. Golden Fleece Award 2018

Medium: Metalsmithing

Website: http://www.ceciliamoore.ie

 
Bam Bam An unstill life Silver and Big Blue Wah wah Taptap A Clangorous Life Wanandudder

Project

I am applying for financial support to the Golden Fleece Award to continue the second year of "raising" as my art practice. Raising is an ancient near obsolete process of repeated hammering sheet metal to form hollow sculptural forms, the process is slow, physically demanding and noisy.

Raising as my art practice became my future goal thirty years ago. As the years flew by and physical energy began to wane, I realised in 2015 it was time to start. I committed to this project accepting it would take a while to build a portfolio of work, gallery contacts and sales, but this is progressing, and support in the interim from the Golden Fleece would enable me to be more secure in the essentials of living, studio rent, necessary equipment, materials and travel.

The studio/workspace is at the Firestation Sculpture Workshop, where there is both practical and artistic support. Unfortunately being a shared workspace I need to dampen the noise involved in my work for the other artists, funding would enable me to buy industrial sound barriers. Gilding metal, a copper based alloy, is the metal I raise in, it is heavy and grimy, funding would allow me to raise some work using silver, it has beauty, malleability, and an innate preciousness that can carry the value of material and labour, where unfortunately gilding metal wont.

Attending recent exhibition openings in Ireland and Germany to explain my work in person has been hugely beneficial in gaining more exposure for my work. From this I have been invited and recommended to attend some specific events in 2018 in Germany, Denmark and Switzerland, funding towards this would be a great help.

Artist Statement

Making these one-off sculptural pieces I see as the reviving of a near obsolete silversmithing technique as a process in contemporary art and design. Raising demands a huge investment from me in time and physical energy, it is a solitary and deliberate act, but meditative and magical. The finished forms in theory could be produced using mechanical techniques and other less laborious means, but it is this physical contact, energy and ritual between the metal, hammer and myself that is foremost in my work.

Working solitarily is maybe why I make pieces in groups, There is a quirky playfulness to each group through their colour and movement as they appear to interact and communicate with each other, their arrangement left to each curator, reflects patterns of group dynamics.

The solitary nature of working gives me a need to connect with other metal artists who work similarly, I have been invited to join "The Hammer Club" agroup of international metal artists that meet annually, this year in Germany, it will be a great chance to meet and learn in a peer group.

I strive to have a continuous but structured research and development of new ideas in my designs, particularly areas of form and finish. It was my recent return to college for an accelerated B.Des and MFA, that has been instrumental for me in formalizing methods of research and strategies to tackle the promotion of my work. Hoping to survive as self-employed I have to face the awkward business side, this year I have been fortunate to have had my work selected for some high profile exhibitions including: two international shows for Handwerkskammer of München und Oberbayern; the Critical Selection of DCCOI Portfolio; and to become a gallery artist at Galeri Montan, Copenhagen, Denmark.