Interdisciplinary artist Kathryn Cellerini Moore is a nerd and a space-maker who collaborates with architecture, landscape and community. In a political climate that fabricates and serves us unhelpful dichotomies to live by, Moore feels urgency to create moments for people to reflect on our interconnectedness to one another. Blending her training in both the arts and sciences, Moore’s art dives into the psychology and physiology of trauma, coping, and healing, the relationship of memory to identity and place, and most recently, the influence environment has on our well-being. How can we meaningfully we engage with the microscopic and macroscopic ecosystems we are a part of?

 

Kathryn Cellerini Moore's artwork was curated into the Month of Performance Art in Berlin, Germany, the Does Live Art Have to Be Experienced Live? performance art series at SOIL Gallery in Seattle, WA, and the experimental performance event Collective Becoming: Expressions of Love, Freedom and Resistance at the School of the Art Institute in Chicago. Her work was exhibited in venues including The Art and History Museum in Maitland, FL; Duplex Gallery in Portland, OR; The Schneider Museum of Art in Ashland, OR; The McDonough Museum of Art in Youngstown, OH; The Center of Contemporary Art (CoCA) in Seattle, WA; Hunter College Times Square Gallery in NY, NY; and Besse Gallery at Bay College, Escanaba, MI. Moore presented her research at the first Mokuhanga Conference in Kyoto and Awaji, Japan, and was recently an artist-in-residence at PLAYA Summer Lake, TEDx, and Djerassi Artist Residency Program. In 2020, Moore joined the Oregon Art Commission’s Art in Public Places artist roster.

Statement

I am an artist who explores issues related to the impact of the natural world on human psychology and physiology. In my research, I’ve found that the act of making art is a cyclical process of searching for visual moments that are surprising and impactful, synthesizing cross-disciplinary ideas with brevity, and poetic space-making.

 

I believe the process of making the art should be conceptually linked to concept and content of the artwork. As such, my creative process requires that I first give myself permission to freely manipulate, experiment with and push the boundaries of the materials I am aesthetically drawn to using. As I experiment with material combinations, I begin to search for visual and metaphorical combinations that express and elicit emotion. I seek surprise. Through ongoing iterative trials with materials, a solution or new direction eventually presents itself.

 

If unfettered material play is one piece of the research process, then how do I espouse meaning to those materials in an informed way? Researching topics outside of my field helps me to make pithy objects that synthesize ideas across disciplines. I read scholarly articles. I read literature. I congregate with multidisciplinary creatives at residencies and travel to new-to-me locations to be influenced by novel environments. I listen to interviews, panel discussions, and podcasts. The back and forth activities of seeking out knowledge while experimenting with materials helps me deepen my awareness about topics being investigated outside of my own bubble and outside of the art world. I love identifying gaps in knowledge so that I can ask questions of experts, which opens up the possibility for collaboration and increases the art’s accessibility to a wider population.

 

When ideas and materials begin to coalesce into art, I begin to search for natural or built architectural spaces where the art and concepts at hand will be best supported. This is because no matter what medium I am working with, I am fixated on how to create space with it. When working with digital media, performance, and installation art, I consider space making as a physical collaboration with buildings, landscapes, and the people who encounter the work in the spaces. Who and what will be impacted by this work? What historical context is embodied by the place? How does the cultural significance of a place lend itself, or respond to, the art it becomes the nest for?  Answers to these questions determine the direction of the work that is created within the built or natural world around it.