NICHOLAS MOORE Four Faces of Hearn: New Orleans 2009 [R/F] - x +

CN: MooN2009fac4

MT: mixed media: watercolor, oil stick and paper, ink, beads on linocut on paper mounted on wood (32x23 / F:48x38x5)

TX: inscribed at rear with felt pen at center in English <FOUR FACES OF HEARN / VARIANT 1 / N.J.C.MOORE / 2009 / WWW.NJCMOORE.COM>

IL: Albanopoulos & Petrinou 2009, #21; Megakles Rogakos 2009, p.66-67

CT: Martinos Art Gallery, Athens - 2009

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 fourth part of Four Faces of Hearn is about Lafcadio's New Orleans. On top of the flag are set three muslin Voodoo bags, called 'Gris-gris', serving as talismans for success in money, love and travel. The image on right is a pastiche of cliché Japanese objects, including bamboo, the kind of imagery sold to the west during the end of 19th century, the height of the period of Japonism. The following quote on the image is about a caged cricket in the Kusa-Hibari story from the book "Kotto": They were born of eggs hatched in a jar of clay, in the shop of some insect-merchant: and they dwelt thereafter only in cages. But he sings the song of his race as it was sung a myriad years ago, and as faultlessly as if he understood the exact significance of every note. Of course he did not learn the song. It is a song of organic memory - deep, dim memory of other quintillions of lives, when the ghost of him shrilled at night from the dewy grasses of the hills. Then that song brought him love - and death. He has forgotten all about death: but he remembers the love. And therefore he sings now - for the bride that will never come.

[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