Zeke Moores Art

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

“Man's profound gestural relationship to objects, which epitomizes his integration into the world, into social structures, can be a highly fulfilling one, and this fulfilment is discernible in the beauty - the 'style' - of the relationship in its reciprocity.” -Jean Baudrillard, The System of Objects (1996) The cliché that “one man’s trash...

Cast aluminum Heavily influenced by his extensive background in fabrication, blacksmithing and foundry; Moores’ work is preoccupied by the cultural significance and hierarchical sys...

$1100 each The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the originals, this is how...

How an object relates to its function greatly determines a society’s view and/or perception of that object. Most objects directly mirror their utilitarian role in their qualities and...

How an object relates to its function greatly determines a society’s view and/or perception of that object. Most objects directly mirror their utilitarian role in their qualities and...

Born and raised in Conception Bay South, Newfoundland, Zeke Moores has received numerous grants and awards, and has exhibited nationally and internationally at such institutions as t...

Attacking the medium of sculpture from a position of almost anti-fine art clarity, Zeke Moores alters conceptions of how we relate to material and form. There is an appreciation of m...

By Terence Sharpe Attacking the medium of sculpture from a position of almost anti-fine art clarity, Zeke Moores alters conceptions of how we relate to material and form. There is...

Attacking the medium of sculpture from a position of almost anti-fine art clarity, Zeke Moores alters conceptions of how we relate to material and form. There is an appreciation of m...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the or...

By Terence Sharpe Attacking the medium of sculpture from a position of almost anti-fine art clarity, Zeke Moores alters conceptions of how we relate to material and form. There is...

Heavily influenced by his extensive background in fabrication, blacksmithing and foundry; Moores’ work is preoccupied by the cultural significance and hierarchical systems of value t...

How an object relates to its function greatly determines a society’s view and/or perception of that object. Most objects directly mirror their utilitarian role in their qualities and...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the or...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the originals, this is how Zeke Moores’ work appears. Upon closer consideration, the materiality of these pieces comes to light. Deceivingly close to the real thing, they greatly diverge from the original. From chromed steel Trashcans to the reconstructed Port-O-Potty made from cast aluminum and nickel-plated steel, Moores uses metalsmithing techniques to render his sculptures, usurping of the traditional modes of mass production as well as the disposable materiality that we associate with these objects. In his work, mechanised assembly line production and objects made to be thrown out or forgotten become a craftsman’s labour of love. As the disposable dejected everyday object is taken from the street and placed into the gallery, our use and imposition of a hierarchy on objects becomes apparent. However, it also speaks of the amount of work no longer done by people or often done by a series of anonymous workers in a repetitive but carefully choreographed dance with machines. We approach very differently a practical or a mass-produced object and one that is crafted. These works also celebrate those objects designed for practical but not specifically aesthetic purposes. The imposition of a new materiality gives them durability and in the case of bronze casts or chrome plating a superficial prestige. Sitting in a gallery contemplated and beheld, the cast bronze Barrier is not unlike a monument or a statue. Though, these nobler materials are not wherein the beauty lies. Happy Meal...