24.8.11
cv
b. 1985, Toronto, ON, Canada
EducationBFA 2008 Emily Carr Institute of Art and Design, Vancouver, British Columbia, Canada
Solo and Two-Person Exhibitions
September 2010 Haptic (with Elspeth Pratt) Helen Pitt Gallery, Vancouver BC
August 2010 Air Conditioning, CSA Space, Vancouver, BC
2008 Light Duty Filing for Diaphanous Supply, Zulu Art Wall, Zulu Records, Vancouver. BC
2007 No Light Stands Alone, Helen Pitt Gallery, Vancouver, BC
2006 House Paintings (with Daniel Oates Kuhn) The Prince Albert Music Society, Vancouver, BC
2006 I and Thou (with Steven Hubert), The Crawlspace, Emily Carr Institute, Vancouver, BC
Group Exhibitions
2011 Faker than Faux Fur, Access Artist Run Centre, Vancouver, BC
2010 White on White, Jan Van Eyck Academie, Maastricht, Netherlands
2009 Exercises in Seeing, Queens Nails Projects, San Fransisco, CA
2009 And laid him on the green. Goonies, Vancouver BC
2008 Leave Room for the Holy Spirit Offsite Graduation Show, Helen Pitt Gallery, Vancouver, BC
2008 Graduation Award Show Winsor Gallery, Vancouver, BC
2008 Emily Carr Institute Grad Show Charles H. Scott Gallery, Vancouver, BC
2007 The Hole World Emergency Room Strathcona, Vancouver, BC
Professional Experience
April/May 2010 - Pouch Cove Foundation, Artist in Residence, Pouch Cove, Newfoundland
June 2008 - February 2009 Lawrence Eng Gallery, Gallery Assistant, lawrenceeng.com
October 2007 – October 2008 Helen Pitt Gallery, Student Curator, helenpittgallery.org
Press
2007 Terence Dick, Akimbo Review for No Light Stands Alone, Helen Pitt Gallery, Vancouver, BC.
2007 White Hot Magazine for Contemporary Art, Interview with Tiziana La Melia
Awards
2008 Contemporary Art Society of Vancouver Emerging Artist Award
29.7.11
New work from "Faker Than Faux Fur"
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| An Envelope of Displays polyethylene laminated aluminum 2011 |
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| Collapsing Scatter in Poolside Section polyethylene laminated aluminum, aluminum flashing, aluminum tape 2011 |
19.10.10
3.10.10
27.4.10
"Qualities of Impossible Means" By Francesca Bennett
Qualities of Impossible Means
By Francesca Bennett
Entrusted with the task of a translation - to paper - of an as-yet-not-exhibited solo exhibition of new works by Tegan Moore: entitled Air Conditioning, to take place this August, in Vancouver, on Main Street, at CSA Space; I must admit at least an uncertainty: how to consider these objects?
(By this, not only: "how to consider these objects?" but also: "how to consider these objects?" and finally: "how to consider these objects?")
It is not yet that-part-of-August.
It is hot, and still imaginary.
How to consider these objects.
(Or: consider these objects.)
Blue, pink, green, yellow, white, grey, green;
faded, spotted, unlined, lined;
bright and dark and pale.
Wadding, wrapping, mesh, net, foam.
Solid, not-solid, soft;
cold, warm, too-hot, room temperature;
low density, high density;
affected.
New, new-ish, used;
in use;
crushed, intact, cut, folded and bent.
Rising.
Glued, stuck, held, cradled, cupped, hung, stacked;
slouching, bending, covering, yielding;
yearning;
smaller, larger, wider, wider, shorter, tall, taller, tallest.
Pretending, posing, being;
blocking, hiding, streaming, letting, obstructing, withholding.
Changing.
Damp, dried, sticky.
In between.
Higher, lower, lower.
Round, not-round, rounded;
around.
Continuous, contiguous, discrete.
Visible, invisible, illusory, questionable;
see-through.
All of the above, some of the above, none of the above.
Other.
Entrusted with the task of a translation - to paper - of an as-yet-not-exhibited solo exhibition of new works by Tegan Moore: entitled Air Conditioning, to take place this August, in Vancouver, on Main Street, at CSA Space; I must admit at least an uncertainty: how to consider these objects?
(By this, not only: "how to consider these objects?" but also: "how to consider these objects?" and finally: "how to consider these objects?")
It is not yet that-part-of-August.
It is hot, and still imaginary.
How to consider these objects.
(Or: consider these objects.)
Blue, pink, green, yellow, white, grey, green;
faded, spotted, unlined, lined;
bright and dark and pale.
Wadding, wrapping, mesh, net, foam.
Solid, not-solid, soft;
cold, warm, too-hot, room temperature;
low density, high density;
affected.
New, new-ish, used;
in use;
crushed, intact, cut, folded and bent.
Rising.
Glued, stuck, held, cradled, cupped, hung, stacked;
slouching, bending, covering, yielding;
yearning;
smaller, larger, wider, wider, shorter, tall, taller, tallest.
Pretending, posing, being;
blocking, hiding, streaming, letting, obstructing, withholding.
Changing.
Damp, dried, sticky.
In between.
Higher, lower, lower.
Round, not-round, rounded;
around.
Continuous, contiguous, discrete.
Visible, invisible, illusory, questionable;
see-through.
All of the above, some of the above, none of the above.
Other.
How to consider these objects.
(Or: consider these objects.)
In situ:
as sculpture.
As instances, as actions, as illusions.
As: doubles, triples, single multiples; as multiply single.
Singly, together, three or two at a time.
As gesture.
Physically, physiologically, phenomenologically;
historically, intellectually.
(Humorously.)
Archaelogically;
meteorologically;
possibly logically.
With gravity;
and think of other objects.
How to consider these objects.
(Or: consider these objects.)
Tonight:
with refreshment.
Monday afternoon:
refreshed.
Eternally,
or:
later.
8.11.09
And laid him on the green
And laid him on the green September 12-18, 2009. Goonies, Vancouver, BC, Canada
And laid him on the green presents a selection of work from Vancouver artists Mark Dahl, Tegan Moore, and Lauren Scott, examining the manner in which specific objects and scenarios can be made uncertain through vaguely scientific methods and purposefully poetic choices.
Curated by Francesca Bennett
And laid him on the green presents a selection of work from Vancouver artists Mark Dahl, Tegan Moore, and Lauren Scott, examining the manner in which specific objects and scenarios can be made uncertain through vaguely scientific methods and purposefully poetic choices.
Curated by Francesca Bennett
Self Storage and Non-slip Travellers
Styrofoam, non-slip tread, skid foam planks, thin plastic sheet, masking tape
2009
Tool for Gathering Colour in the Dust
insulation foam, Velcro, colour paper, adhesive instructional labels
2009
Installation view
Airy Duct
various foam, string, non-slip tread
2009
18.11.08
Light Duty Filing for Diaphanous Supply
This is a selection from a series of small scale wall sculptures that sought to illustrate an investigation into subtleties of colour and surface in the accumulation of see-through materials and "invisible" desktop objects.
Work from series: Light Duty Filing for Diaphanous Supply
Zulu Art Wall, June 2008.
Value Display Box
Plexiglas and Plexiglas protective layer
30" x 12" x 24"
Plexiglas and Plexiglas protective layer
30" x 12" x 24"
14.9.08
For No Light Stands Alone, Helen Pitt Gallery, 2007
Installation view for No Light Stands Alone, 2007
Press Release: No Light Stands Alone
Helen Pitt Gallery: Back Gallery
Saturday, June 30 to Saturday, July 28, 2007
Like the Concrete Poet who tries to make words look like other things, Tegan Moore has set out in No Light Stands Alone to package light itself. As ambitious as this may seem, her discrete sculptural experiments appear to trap light somewhat less vigorously than the average atom or solar panel, bringing to mind a quasi-scientific approach more akin to wishful thinking than physics. Made from found and manufactured materials, Moore’s forms are contrived and geometric—clunky yet exquisite—offering us a palpable sense of her continuing research, even as the hidden glory of things is miraculously exposed.
Different from detournement, where objects are reused or appropriated to undermine an original message or purpose, Moore’s pairings of light and object instead elicit an inborn sense of camaraderie between constituent parts. Dramatic oppositions like real and unreal, the authentic and the fabricated, may be implicit, but here seem played down to favor a more earnest, meticulously-crafted, take on our basic, indexical relationship to nature and natural phenomena. In this sense, Moore’s sculptures perform the noble duty of poetics first and critique second, for if plastic and foam can approximate sunlight through the trees, or a cooler stand-in for a glacier, then surely one’s disbelief has already been suspended enough to ignore a latent critique of consumer goods (if one does indeed exist). One is reminded instead of an electrician, with voltmeter in one hand and a copy of Thoreau’s Walden in the other, dutifully testing sockets to bring about a revolution.
Device for Packing Rainbows
polyester umbrella material, paper, matte board
35 " x 50" x 6.5"
2007
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| Replacement Part for Iceberg |
Trials in Shaping a Gleam #1: Sun Streaming Project Board
corrugated plastic, installed on table and window
2007
Trials in Shaping a Gleam #1: Sun Streaming Project Board (detail)
Fill-Polar-Air and Extruded Light Pillar, together for some time and protected by the edge.
inflatable packaging, Styrofoam, extruded polystyrene insulation
6’ x 4.5’ x 8’
2008
Extruded Light Pillar (detail)
Fill-Polar-Air (detail)
Surface Protection for Underwater Imaginations
protective film, glass
dimensions variable
2008
Air Organizer
extruded polystyrene foam
11” x 8” x 7”
2008
How Hard We Make Soft
wood, shrink film, inflatable packaging, reflective glass beads
28” x 21” x 14”
2008
Holding Light Value Storage
2008
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