Company Artists

Jazz-minh Moore

  • Born: 1978
  • Hometown: Breitenbush Hotsprings, Oregon
  • Education: M.F.A. California State University, Long Beach, California. B.F.A. magna cum laude, Cornish College of the Arts, Seattle, Washington
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Jazz-minh Moore is a New York based artist with interests in the complicated dialectic between ‘nature’ and ‘culture’ within contemporary society.  Moore was born on a hippie commune dedicated to environmental preservation in the redwood forest of Oregon, and raised on a dirt road in the outskirts of San Diego. 

Moore has had solo shows in New York, Seattle, San Francisco, Los Angeles and Paris, and been featured in various publications, including Interview Magazine, Whitehot Magazine, Zingmagazine, American Art Collector and Dazed Digital.  She has been the recipient of numerous grants, including a NYFA Fellowship and an Elizabeth Greenshields Foundation grant.  In 2009, she co-founded the NYC based art collective, Gutbox.  Jazz-minh Moore is represented by Lyons Wier Gallery NYC.

Artist Statement:

In the odd, passing moments of life, I hone in on expressions that reveal breaks in the usual protective veneer we collectively adopt.
Some sections are left unfinished, others highly rendered.  The level of finish is symptomatic of an evolving collaboration with the organic drawing 'style' present in the wood itself. I leave woodgrain as landscape to influence composition.

I often paint girlfriends of mine, artists or writers who have an inherent ferocity that they must let out - girls who shouldn't leave the house like that... what would people think?  Choosing in-between, raw expressions is my way to applaud something fiercely real and un-simulated.  Through my subjects, I grapple with stark, uncontrollable emotions, lost love, irrevocable choices, and the personal loss of innocence.  Inherent in these themes is my own intractable march, from the near-feral state of a young girl growing up in stark nature, to a civilized, compromised condition.

A poured coat of resin embalming bare woodgrain suggests what I consider to be a defining trait of our culture--the paradox of slick plastic surface beauty with the prevalence of dead surfaces.  Nothing will ever grow from this particular piece of wood again, as the polymer coating will not biodegrade.

My paintings are not grand.  Every portrait is a small exaltation of a moment in which light, wind, water or emotion brought a human psyche to pause it's viscerally competitive march. Slipping sideways, I fall into a mess of tangled hair, or escape into the wind.