CM: For Nicholas Moore mixed media has become more dominant an art form in the last two years. He found that the nature of the mixed media technique can express the different sides of his work. Recently his work concentrates on the figure, with an emphasis on their environment - at what is around the subject. Moore has been collecting Japanese arts and crafts since a child. He was interested in Lafcadio Hearn as a very fascinating and intriguing man. In Four Faces of Hearn Moore took to represent four aspects of his life. Basically, the same figure of Lafcadio is reproduced in every picture. Every different object in the imagery around him has relevance to his life. In each picture, the lunette on left hand side is occupied by a picture (symbol) identifying the place he lived - stylized versions of the Japanese flag, then the Greek flag, the municipal flag of New Orleans, and finally a combination of the emblem of Durham College with a suggestion of the Irish flag. The images to the right are more or less literal representations of the texts inscribed in the background of each work. Though legible the texts act at first glance as a texture, an embroidery, reflecting Hearn's depiction of the daily life of japan recounting that, which is sewn deep into the experience of the subjects he describes.
The second part of Four Faces of Hearn is about Lafcadio's Greece. On his jacket there is an origami Ocean liner and a dolphin representing his journey from Greece. Little models of paper boats, of typically Greek origin, serve as vehicles for a metaphysical sea travel. The boats are made of printed map images of ancient sea battles. On the left are three Japanese spirit lanterns for an ancestral festival, representing his final journey. The names written in Japanese on the lanterns are of Lafcadio, his daughter Suzuko and son Iwao. The text on the image is quoted from chapter 5, At the Market of the Dead, from the book "Glimpses of Unfamiliar Japan - First Series". This section of the text that follows concerns the part after they have visited the house of a grieving mother: And while through the tinted lantern light I wander on with the gentle noisy people, up the great steps of stone, between other displays of lotus-blossoms, between other high hedgerows of paper flowers, my thought suddenly goes back to the little broken shrine in the poor woman's room, with the humble playthings hanging before it, and the laughing, twirling mask of Otafuku. I see the happy, funny little eyes, oblique and silky-shadowed like Otafuku's own, which used to look at those toys,--toys in which the fresh child-senses found a charm that I can but faintly divine, a delight hereditary, ancestral. I see the tender little creature being borne, as it was doubtless borne many times, through just such a peaceful throng as this, in just such a lukewarm, luminous night, peeping over the mother's shoulder, softly clinging at her neck with tiny hands.
[Megakles Rogakos 05/2009]
ROGAKOS, MEGAKLES The Open Mind of Lafcadio Hearn 2009 The American College of Greece - ACG Art, Athens
NIKOS ALBANOPOULOS & CHRISTINA PETRINOU Nicholas Moore: A Tale of Three Islands: Great Britain – Crete – Syros 2009 Municipal Art Gallery, Ermoupolis, Syros