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(Chairman of Leeds Art Fair 2002-06)
The vitality of Moor's painting lies in his ability to blend abstraction and figurative work within a complex metaphorical framework and, in doing so, create images of indelible psychological power.
In his most recent paintings Mike continues the vocabulary of his earlier, more graphic work but gives the imagery a new direction. The socio-erotic content of his print work has given way to a more organic or 'biomorphic' approach. The new boards with their fluent, expressive surfaces and resonant colour suggest elements and situations in the natural world - the forms are often reminiscent of landscape or seascape - but the imagery is evocotive and generates a wide variety of allusions.
The paintings often seem to exist in a state of continuous movement: the artist's sexual and sensual symbols become submerged in a flurry of gestured incident. There is an understated 'volatility' to Mike Moor's present work that seems to create its own momentum
In response to Mike's illustrations for the book 'Angel', one of three books commissioned by Ediciones Actaeon and shown at the Eagle Gallery, London.
". . . And yet - there's something in Angel's defiant grotesque, at its least self-conscious and most assured in the dispassionate final chapter; a frisson, undoubtedly. More striking still are Michael Moor's disconcerting illustrations: naked, bandaged bodies merge and mutate, bearing the suggestions of scars and of spreading wings, the scars aesthetic, the wings a mutilation.
Elegant, compelling, sombre and pitiless, they are undoubtedly the most distinguished in the trio."
The Aberyswyth Gazette . . .
Reporting on an exhibition held at the Cerdigion Museum
" . . . a
strange and mysterious collection of images...which emerge from the darkness of the tangle of crisscross lines to remind us of dreams, fantasies and memories. Looking through the flesh or out of the cave to distant seascapes, at villages, mixtures of domestic scenes, halfbeast half-human forms, the intensity of the detail married to the random swirl of marks make us look harder at the darkness to find other recognisable images. We are left to find the rest in our own minds"
