David Moore studied at the École des beaux-arts de Montréal and at Concordia University, where he later became a professor of visual arts. In 1977, he began producing in situ interventions, particularly in Pompeii, Delphi and on the Irish island of Blasket, in which he revisited and reinterpreted the remnants of past civilisations. In 1981, he created pieces evocative of rituals and antique funerary furniture. Moore’s interest in the archaic past led him to reside in Crete from 1984 to 1986, during which time he concentrated on painting. In 1986, he began to make anthropomorphic wooden figures, both on a human scale and on a reduced or monumental scale. His works are included in a number of private and public art collections; aLomph aBram (1988-1990), for example, is installed in the turret of the Charles-Baillargé Pavilion at the Musée national des beaux-arts du Québec. His schematized works may be seen as totems honouring man’s journey through history.
SEE:
« Moore in context : An artist deeply influenced by anthropology » by Serge Laliberté, ESPACE, vol. 6, #4, p. 37.
« David Moore : Transparence and Otherness » by Claire Gravel & Roch Fortier, ESPACE #28, p. 27.
« Lachine : Récentes acquisitions », ESPACE #34, p. 40.
« David Moore : Déplacement, artifice et spatialisation » by Jocelyne Connolly, ESPACE #50, p. 36.
« David Moore : Speculor. Le musée céleste. La virtualisation du musée » by Jocelyne Connolly, ESPACE #70, p. 37.
« David Moore : Where is time? Tsi esi piou? » by Maria Gouma, ESPACE #83, p. 29.
« David Moore, Colère Druide » by Serge Fisette, ESPACE #93, p. 39.
« [Sans titre] », ESPACE #81, p. 34.
« Sentier Art3 / Sentier Art3, Parc du bois de BelleRivière, Mirabel, Été 2010 » by Pascale Beaudet, ESPACE # 95, p. 44.
« Melvin Charney, David Moore, Michel Goulet, Bill Vazan, André Fournelle » by Manon Regimbald, ESPACE, #100, p. 54.
