The edge of control
- 7 minutes ago
- 2 min read
Words by Jamie Crocker
Trudie Moore shapes colour into artworks that bring their own contemplative reward.
Trudie Moore processes and articulates several ideas at the same time. They are tested across several works at once, each carrying its own line of enquiry while remaining connected through colour, material and process. The approach allows one painting to answer questions raised by another, giving each the freedom to develop with its own character. It also reflects an active mind, one that finds clarity through careful focus and disciplined decision-making. Every work grows through a sequence of considered choices, with the artist responding to what unfolds in front of her instead of forcing a fixed outcome.
That willingness to let the work evolve has become central to her practice. Trudie discovered that paintings conceived too rigidly often lose their vitality, while unexpected shifts in the behaviour of paint can introduce an energy impossible to plan.
A run of colour, an unforeseen edge or a subtle interaction between materials becomes part of the conversation taking place across the surface. Even after years of working on a large scale, the first gesture still carries a sense of commitment, demanding confidence before the painting begins to reveal its direction.
Colour has occupied Trudie’s attention since attending workshops led by Bridget Riley during the 1990s. Matching a single hue taught her the value of precision and sustained observation, lessons that continue to shape every canvas. Her palette has gradually become lighter and more distilled, filled with luminous tones that carry an emotional charge while retaining remarkable clarity. Those colours have developed alongside her experience of Cornwall, where light, weather and the physical qualities of the landscape find their way into the work through feeling instead of representation.
Her practice extends beyond paint into acrylic constructions and installations that project colour into the surrounding space. Trudie describes these works as experiences that engage both body and mind, inviting viewers to respond physically as light shifts across translucent surfaces. She has watched people instinctively move closer, stand taller and become visibly animated in front of the work, confirming her belief that abstraction communicates through sensation as much as intellect.
That conviction also informs her view of the audience. She believes artists carry a responsibility to make contemporary art accessible, encouraging conversation without diluting complexity. Through exhibitions, educational work with young people and a direct, open approach, she seeks to build confidence in looking. If visitors leave with a feeling that stays with them, she considers the work complete.
