Moxhay works with imagined invented worlds. Working with old/new photographs (some taken from magazines), paint on canvas and digital manipulation, she creeates these enchanting eerie spaces/ photographs. On an initial viewing things can seem normal and fantastical, but when you start to really look into the work, you can see it's floors with logic. The work disrupts you. Shadows are not casted where they should be, the light sources from the windows do not correlate. The corners if the room either blend into straight patches, or merge into darkness, either way, they are not there. And finally, there is the messing of scale. Ultimately, there should be a little woodland in the middle of a room, but there is. I commend how Moxhay doesn't seem to be bothered with the deliberate misuse of different scales. I often worry about the size of a grass blade placed next to my model in my work. That the two will counteract each other and make it obvious that it's fake. These are pretty obvious that they are fake from day one. However, she runs with it and pushes it to the extreme. And still, everything within the work belongs and works side by side. She is not trying to fool you by doing it subtly, just show you plain and simple. I don't want my work to be some piece of trickery, I want it to just be. The viewer is able to know it's not real, and just be with it. I endeavour my films to hold this presence about them.
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April 2016
Kerry FosterThird Year Fine Art Student at Falmouth School of Art. Fellow artists: |