More on Mr. Moon

Moon-Mick---East-Light

 

My last post occasioned interest from two of the painter’s I’ve met online over the past couple years…the net has been a real revelation in hooking people up of ‘like mind’.  I sometimes think of the quotation (that I think I’ve posted before, if so forgive me) I used to use occasionally in my lecture on abstract painting – ‘Never Trust A Painter’ – from Dave Hickey (writing about David Reed I think) who said abstraction is like Jazz “The people who are interested in it know where to find it – no-one else gives a shit”.  Well there’s more of us…many more of us than I ever realised before we had the web and blogs, Facebook, Twitter etc.  But I digress…this picture was very big indeed…called East Light as I remember.  And this one Omega – a bit smaller but still fairly hefty.  Sadly (as with many of the shows I documented) I only retained a few images and for this show no installation shots.

Moon-Mick---Omega

 

I loved these rugged beasts of pictures…they followed on from his earlier work of super cool melamine strips in acid and metallic combinations and were such a contrast.  His more recent work hasn’t given me the same buzz but ‘back in the day’ these were simply marvellous.  See some more here.

Glue On The Floor

Moon Mick - Loft

 

Stephen MacInnis reports on his children’s use of glue…and how quite a bit of it ends up on the floor.  It reminded me of (and gave me an excuse for) further visual reminisces of my earlier life as Gallery Assistant at Birmingham’s Ikon Gallery back in the 70’s.  This is one of Mick Moon’s huge loose canvas pieces constructed from imprints made in the studio on the floors and other surfaces using PVA glue to transfer the form onto the canvas.  Moon (the brother of the late great Jeremy...who tragically died far too young) was really onto something with these pieces though I don’t think he pursued the idea for very long or took them to where they might have gone had he done so.  In any event I loved them (and so did the John Moores Painting Competition judges for one of them won first prize at the 1980 exhibition) and wish he’d experimented further with the idea.  Let’s see if Stephen’s children pick up the trail!