CRITICISM AND COMMENT
Eric Moody 1946- Artist notable for coloured reliefs with city and suburb as their theme.
David Buckman, The Dictionary of Artists in Britain since 1945.
Eric Moody especially likes to consider the everyday in his working. His constructions are to be analysed as well as enjoyed on a simply visual level.
Paul Clough, Between Sculpture and Painting , Kettles Yard, Cambridge.
Moody bonds, paints, scrubs, buries and digs-up his material and remakes it into metaphors about the urban environment ………….
Deanna Petherbridge, Art Monthly review of Coloured Construction, Ikon Gallery, Birmingham.
The eight large-scale constructions in Imperial Housing Stock have a grittiness, derived largely from the materials used in their construction, that makes the open-air setting apt. The pieces engage and comment on the architecture of suburb and inner city.
Peter Kenny, Architects Journal review of Imperial Housing Stock, RIBA, London.
Eric Moody’s work is the closest of all to Picasso, but has become so as a way of becoming more immediate………. In making his work contain very specific objects and forms he has gained a wit that reacts well with the erudition with which one might read the overall subject, which is often drawn from specific art-historical and literary reference…….
Michael Tooby, catalogue essay in Coloured Images, The Crawford Centre for the Arts.
Eric Moody is one with the refinement at times of a Morandi still life. His Instrument of Pleasure is characteristic of the inherent possibilities of creative ambiguity: music, sex?
Marina Vaizey, catalogue essay, Coloured Constructions, Curwen Gallery, London.
Penetrating the meaning of Moody’s constructions is like peeling an artichoke-if you work hard enough you will reach the heart but you may have been pricked in the process.
Mary Rose Beaumont, in Art Review of Reconstituted City 2, Art Space Gallery, London.
Eric Moody’s great wheel, Jason’s Inner-city Seat tells the story of material culture in London and touches on the important themes of markets and consumption.
Ian Robertson, London Underground, Taipei Fine Art Museum .
In Eric Moody’s work I find a refreshing awareness of some alternative ways of structuring experience. The methods are complementary rather than competing and the results are equally valid. ………His starting point is an acute scrutiny of everyday objects and experiences.
Peter Hewitt, Appreciation, a catalogue essay in Between Sculpture and Painting, Kettles Yard, Cambridge.
We would like to invite you to submit a selection of your work for an exhibition entitled London Underground at our museum. We would be grateful if you would accept this invitation to take part in what we feel to be a pioneering exhibition in Korea.
Moon-soon Park,Director Sungkok Art Museum.