Color is my vocabulary, no matter what the subject. Although I love drawing with a graceful, lively line, my compositional structure is based on color rather than line.
Using shifts and contrasts of color, I want to create a painting that has modeled forms and space, offers visual excitement and tells a story.
Corragh Skies (mixed media, 54×36)
I’ve studied anatomy, both animal and human, as well as architecture, biology, botany and physics. I want to make use of this knowledge but unobtrusively, so that my paintings will have a mainly decorative appeal at first glance.
I sketch at full size on sheets of tracing paper, either from a pad or a roll of architectural paper.
To me, the negative space is as important as the positive shapes.
I draw from my own photographs, but I’m not a very good photographer, which is just as well. The camera always distorts and foreshortens a subject, so I have to rely on my own knowledge of anatomy anyway. Besides, I want to choose which parts of my subjects I’m going to distort for my own purposes.
My preferred painting support is a pastel cloth-covered panel. To adhere the pastel cloth to the plywood panel, I use wallpaper paste, clay-based adhesive or drymounting materials.
Since brushstrokes don’t play a particularly important role in my final paintings, I’m not very picky about my brushes. I use old bristle brushes for some areas, or inexpensive foam rubber brushes from a craft or hardware store. But I do insist on using the best materials–the finest paints and pastels and excellent papers and pastel supports.
Pastel, especially when used on pastel cloth, is user friendly. If I make a mistake or if I’m unhappy with something, I can remove the loose pigment by wiping it with a damp cloth. Then I can re-work the area until I?m satisfied with the shapes, colors and textures.
Blue Grass Farm (mixed media, 30×40)
As a young girl, Fay Moore studied at Henry Hensche?s Cape Cod School of Art, as well as other art schools. She went on to graduate from Bennington College, and later took stage and costume design courses at Yale Graduate School of Drama. After she?d become a full-time artist, her husband took her to the races at Saratoga, New York. From then on, Moore was hooked on equine art, especially depicting horse racing. Since that time, Moore has earned a reputation as one of the finest equine artists in the country. Her award-winning work is included in countless private and public collections, and has been published in a number of art magazines and newspapers. She?s also been very active in a number of artists? organizations, having served as the Vice President of Allied Artists of America, the Board Chairman of the American Academy of Equine Art, Vice President of the National Arts Club, an adviser to the National Society of Mural Painters and more. Moore maintains a studio in the historic National Arts Club building in New York.