Adventuring into the soft-verged concepts of the place and the pre-place, the visible and the invisible, the temporal and the timeless; Emma Moxey positions herself as an abstract explorer and mapmaker.
Invited to follow in her footsteps, we quickly ditch the empirical traditions of measure and logic in favour of more intuitive tools. Equipped with our basic kit of frames, signs and symbols, we soon begin to navigate Emma’s loose ambiguity, tentatively tracking her progress and accumulating her themes.
Using each work’s apparent chronology as a guide, her work reveals itself to be a two-fold adventure. The first is one of discovery; a meticulous and creeping exploration of the painting’s surface in which automatic drawing is used as both a means of dwelling and a record of inhabitation. Through this, the quasi-landmarks of place are found and tentatively extracted, and a fantastical world is slowly brought into being.
Soon, this once-wilderness is colonised with ideas. Thematic codes, emerging structures and painterly systems scatter the surface, congealing and evolving in response to the surface catalysts and variants beneath. This is the second act; a process of coalescence and creative mechanics through which the suggested landmarks grow in potency, substance and significance.
Shifting and fluid, the images’ themes and schematics finally adhere to form an unworldly, intricate and interwoven topography, existing somewhere between idea and thought, being and becoming, place and space.