Shawna Moore approaches her art as an exploration into her imagination and her inner response to people, places and things. Rather than reporting on what is literally seen, her work relays intuition, impression, and interior.
Shawna Moore is an established, professional painter and encaustic artist living in Whitefish, Montana. Anchored by the use of color and the immediacy of art making, Moore has spent the past 25 years developing and refining her artistic process and intention. She began drawing at an early age, and began taking college drawing classes while still in high school. Applying to the University of Oregon in 1983, she was one of the youngest admitted to this rigorous 5 year program. In addition to architectural studies, she began painting and the practice of figure drawing while at the U of O.
Her art integrates elements of painting and drawing, and reflects both her education in architecture and fine art, and her inventive and experimental nature. In recent years, the ancient method of encaustic painting is Moore’s medium of choice. This unique and dynamic technique incorporates pigmented bee’s wax, which is heated, re-worked, etched and scuffed to achieve dimensional depth. As each layer cools, another can be applied, resulting in a radiant and complex terrain of light, color and texture. She is active in exhibiting at many of the regional museums in the northwest.
Her work has appeared in the Missoula Art Museum’s Encaustic Invitational, the 2009 Triennial and recently in a multi-state juried exhibition at the Northwest Museum of Art and Culture in Spokane, Washington. Her work is currently represented by eight contemporary galleries around the country, from Washington DC to Santa Fe, New Mexico. Moore teaches workshops in the experimental encaustic techniques she has developed and is currently an affiliated teacher with R&F Handmade Paints, the largest and most notable fine art paint and encaustic paint maker in the United States.
Currently, Moore is fascinated by the similarities between creative expression and mindfulness and the ability of one to help the other. She recently taught a fall retreat “Art and Yoga,” on the Hawaiian island of Molokai’. Two years ago she founded the Whitefish Women’s Salon as a mechanism to promote and facilitate women and the arts, and remains fascinated by the need for creativity in our culture and the difficulties many artists encounter in expressing their creative voices.
Artist Statement: Each line I draw describes a moment in my life as an artist. The interplay with materials is a visual diary of my life experience and my contemplative journey. Most fascinating are the passages which remain visible and those that disappear. The surface is a visual record of selective memory and how despite our best efforts, outcome is subject to so many forces beyond our control. This ability of encaustic paint to reveal and obscure creates mysterious surfaces and depth filled fields of line and color. The drawing, layering, melting, scraping and watching are the moments where you immerse yourself in the materials, tools and process. This is the joyful, timeless place-free from outcome. The critic is not present, which allows for the creation of open space and curious discovery; but this can be dangerous terrain as well, for the ego and blind repetition. When I emerge from this phase, with the paintings as pure expression and exploration, then the editor is invited back for a bit of structure and form. It is a challenging, ever present balancing act between quality control, compulsive thoughts, dreaming, construction, movement, art history, fullness and emptiness.
University of Oregon, School of Fine Arts, Eugene, Oregon
University of Oregon, School of Architecture, Eugene, Oregon
Central Oregon Community College, Fine Arts, Bend, Oregon
Tulane University, Architecture and Drawing, Aegina Greece