Inspired by nature, music, science, spritual practices, poetry, graffiti, mathematics, surfing, and to explore through the movements of modern art the deepening and enriching search for relevance of traditional two-dimensional visual works following the developments of photography and the electronic image.

In a break from representational realism, the ultimate freedom of abstract expressionism opened pathways to conveying ideas and objective relationships of visual symbols and spiritual content, from explicitly stylized references to recognizable objects, to the harmonies of color and form and obscure and void spaces between, outlining the quiet parts of the music in imagery of a deliberate interplay of symbol and abstraction.

Curtis W. Moore studied oil painting under Peter Levanthal, a student of painter Stuart Davis, and attended the Brooklyn, New York school that Jean Michel Basquiat and others had in the previous decades. Moore continued studies in artmaking and art history at the University of Wisconsin – Madison and the New School for Social Research in Mew York City. His art practice began assisting his mother, painter B. Moore, MFA, to mix and tube oil paints as a young man and also navigating his father’s intellectual challenges in logic, mathematics, and business.

The artist’s expanding series OURUBOROI, in high-resolution, archival quality, grayscale aluminum prints, by modelling the solar system’s orbiting celestial clockwork, depicts the essential, balanced, detailed and obscure underlying structure of attraction, to reveal a vast visual space. The works fuse the mediums of digital bitmap generation, Kepler’s equations, code, and an interactive digital interface, with the calendars and the cosmos, the cosmic unconscious, and eternal symbols, to inform and create engagement with the undeniable. It is intended as a minimalistic expression of form and message to elevate and honor a representative aspect of the deity.