Unreasonable (I) (2018)

reassembled ladder
310 x 35 x 50 cm

Unreasonable (II) (2018)

reassembled ladder and chair + wardrobe parts
180 x 162 x 30 cm

A Kind Of Ladder (2014)

pine, yellow stain
300 x 39 x 11 cm

Ladders are beautiful structures, and practical objects. They feature in many creation myths, including the tale of Jacob’s Ladder. The ancient Indian game of Snakes & Ladders gives players a lesson in morality; snakes for vices, ladders for virtue. Aristotle’s Scala Naturae or Great Chain of Being; an attempt to order and explain nature’s hierarchy

Disassembled parts of ladders are here reassembled in twisted forms that don’t lead anywhere logical, or get you off the ground. Attached to the inside and outside the building, these interventions can be followed by gallery visitors in a variety of routes, high and low leading the eyes and legs in all sorts of directions.


Digital History // Resolution (100 μm) (2018)

mixed media, cotton, linen, cloth
260 x 220 x 100 cm

A Digital History charts technological advancement and control mechanisms through textile design; from ancient, rough and porous strands of linen to the modern unseen and infinitesimal weave of microfibers.
The human eye evidently designed linen; it’s strands, unevenness, warp and weft can be seen clearly — like the confines of a prison. The construction of Microfiber on the other hand can’t be examined with the naked eye; it’s a homogeneous fluid surface. This is the same as how digital environments are designed to ensnare us. We can’t see how they are constructed and therefore we don’t know what affect they are having on us

Resolution (100 μm) shows magnifications of the individual strands that make up the fabrics featured in its companion piece. While exploring the same themes it also traces how dirt and water wrap around cotton fibre, and then how they infest microfibers like a mist of a gas — again speculating on systems of control and the evolution of design. The third magnification in this piece shows how designs may develop to the point where they are a mist of moving atoms, objects manufactured to a level of detail where their physical reality no longer exists. And this echoes the design of the digital world and control systems currently at play


Healthy Frequencies (2018)

colour print on paper
5 frames at 40 x 50 cm each

Healthy Frequencies presents five activities taking place with corresponding frequencies in the electromagnetic spectrum (measured in Hz) printed below each one. Despite the common assumption that electromagnetic waves in all varieties are harmful to human beings, the activities depicted here are suggested to be ‘healthy’ and comprise of both preventative treatments (cognitive behavioural therapy, ultraviolet disinfection, and microwave communication systems) as well as treatments more commonly associated with ‘curative’ medicine such as Positron Emission Tomography.


Nothing Changes (2018)

black and white print on photographic paper
50 prints at 125 x 175 cm each


National Theatre Series (2018)

black and white print on resin coated paper
3 prints framed at 33 x 143 cm each

Arboretum 1,2, (2018)

black and white print on fibre based paper
2 prints framed at 59 x 69 cm


Sky Chart (2018)

space responsive work – acrylic and screen print on mounting board
84 x 52 cm x 6 phi cut shapes

Consisting of painted and screen printed card sections Sky Chart suggests illusionistic cuts into or out of the architecture of the space. Moyra considers them compositional elements of painting, dispersed through space and sorted into a sequence following a logic of simultaneous spatial recession and flatness. The implied recession of the 6 sided shape is in tension with the perspective of a printed grid and the direction of processed paint information. The colour and space making choices refer to sky, changing light levels, weather.


Sunrise Is Never Late 1, 2, 4, (2018)

silver gelatine print on aluminium
3 editions at 60 x 100 cm each

Sunrise Is Never Late encapsulates a line of work using experimental darkroom printing to create multilayered, unique photographic objects. Each multi panel work is created in a single exposure under the enlarger, with the panels interdependent on one another for their composition, having masked and effected the layout of each other. The works are closed units, irreproducible by normal photographic standards.

The base image of each is an abstraction of a reflective set constructed in the studio, intended to give a particular energy, movement and reference point of light in the image. The contrast of geometric abstraction on top of these, coupled with liquid, flowing chemical traces from further experimental processing, opens a dialogue between the different elements. They are active documents of their own creation, with different points in time recorded upon their surfaces. These varying reference points and the dialogue between them consider the photographic process of record making; what the components of this process are and how they effect our reading of an image. The drama of light or it’s subtlety, how this communicates emotionally and instantaneously prior to an images context colouring our reading.


Untitled (2018)

polyolefin and emulsion on board
50 x 61 cm

Excavation I (2018)

polyolefin and emulsion on board
123 x 160 cm

Excavation is a series of paintings that question the nature of surface by engaging with its tactile qualities. The paint is applied through a heat process, it folds, overlaps, melts and sits on the support, behaving like fabric. The white paint suggests the possible destruction of a pre-existing visual image that would have been recovered or casted, enhancing the importance of materiality within painting.

This series is born through an investigation of my previous works, which have been constructed through a use of different assemblage techniques: sewing and collage. This enables me to disrupt the temporality of the surface bringing through together heterogeneous materials and the residue of previous works onto the same support. I aim to disrupt the concept of time through making.


Untitled (2018)

tracing paper and pencil
210 x 80 x 60 cm