Margaret Moore is Director & Founder of MOORE CONTEMPORARY in Perth, Australia. The establishment of MOORE CONTEMPORARY in 2017 stems from Moore’s extensive curatorial and arts management career with dedicated expertise in contemporary art and art collections. MOORE CONTEMPORARY has so far delivered over 40 projects, represents 20 local, national and international artists and has participated in several national Art Fairs.
“I often think of partnering with Art Money as being an added concierge service that the Gallery can offer in the service of the collectors, the artists and the gallery alike. Offering Art Money comes from a position of making things possible which is always a positive. I have observed that it has enabled clients to collect decisively and to not miss opportunities."
Pilar Mata Dupont
La Maruja, La Metáfora, 2021
photoprint, acrylic face, mounted on aluminium, edition 1 of 5
120 x 90cm
This work was selected from a photographic series that Pilar Mata Dupont created alongside her video ‘La Maruja’. This video explored the history of the artist’s great- great grandmother, Maria Christina in Argentina, who had died young leaving a young son. In her research Pilar suspected she had died of mastitis when in fact she had misheard the language and learnt she had died from infection in the ear, mastoiditis. Hence the metaphorical costume accessory in this photograph.
I love the confidence and directness of a singular figure in space that is in some ways reminiscent of historical paintings of the Madonna or Saints, where they might carry an attribute or a suggestive symbol.
It is also a work that is luminous and carries its own reflective light in our home. It is classical, theatrical and contemporary all at once.
Dead Horse, 2022
carved and stained wood
60 x 216 x 290cm
Available from MOORE CONTEMPORARY
AUD $5,800 per month with Art Money or $58,000
This life size sculpture in carved wood by Abdul-Rahman Abdullah strikes me as the ultimate ‘still life’ and I covet it for its extraordinary presence and poetry. I love the idea of big sculptural statements, and although the title and subject might seem disarming, when standing in proximity to this work it has an enthralling, quiet power.
Dead Horse was created for the exhibition ‘Lands Abound’ at Ngunungulla, in the Southern Highlands of New South Wales, also featuring work by Tracey Moffatt and the artist’s brother Abdul Abdullah. There are so many aspects attached to the horse as a cultural phenomenon unlike any other animal. A history of heroes and anti- heroes in the farming of the land, the defining of territory, the forging of national identities whether fictional or not, military history and sport.
Abdul-Rahman is highly regarding for his technical carving skill in wood and his ability to imbue his work with an almost ‘magic realism’ and allegory. I feel fortunate to own a smaller work from him and aspire to a larger scale work such as this.