Lot 423 - Suzanne Moxhay - Pines
Lot 423 - Suzanne Moxhay - Pines

Lot 423 - Suzanne Moxhay - Pines

Print Hand Finished with Gouache
A6 (10x15cm) original artwork
Signed on verso

Moxhay (b.1976, Essex) lives and works in London. 


After completing a BA Hons in Painting at Chelsea College of Art she went on to The Royal Academy Schools where she graduated with a Post Graduate Diploma in Fine Art in 2007.

She has exhibited widely, both nationally and internationally since 2002 and her work is held in many significant public and private collections including the University of the Arts Collection, The Royal Academy of Arts, The Cooper Union New York, the FSC, the Lodeveans Collection and Oxford University. She has featured in numerous publications including The Guardian, The FT, A-N Magazine and Art World Magazine and has been profiled and interviewed on the BBC Culture Show.
Exhibitions include ‘GSK Contemporary: Earth Art of a Changing World’ and 'Constructed Landscapes' at the Royal Academy of Arts, ‘Saatchi’s New Sensations/ The Future Can Wait’ at Victoria House, London and 'Human Made Things' at Aspex Gallery, Portsmouth and ‘Modell-Naturen’ which toured public museums in Germany in 2019. Her animation work has been shown as part of the programme ‘Do Billboards Dream of Electric Screens?’ on BBC public screens in cities across the UK and she has had three prints commissioned by the Royal Academy of Arts. 
BA Hons Fine Art: Painting, Chelsea College of Art, 2001-2004
Post Graduate Diploma Fine Art, Royal Academy Schools, 2004-2007Solo Exhibitions:
2020 Tableaux Vivants Galerie G, La Garde, France
2019 Conservatory James Freeman Gallery, London
2017 Tableau Vivant Anderson Gallery, Bridgewater State University, MA, USA 
2016 Selected Works START with The LOFT at Lower Parel, Saatchi Gallery
2016 Tableau Vivant Anima-Mundi Gallery, St Ives
2014 Finta Realta TEN Gallery, Milan
Group Exhibitions:
2021- High Art Orchestra, Galerie Jean-Louis Ramand, Aix-en-Provence, France
2020- Electric Avenue, James Freeman Gallery, London, online
2020- The Birds are Singing in the Distant Woods, The Violet Hour, London, online
2020- Royal Academy Winter Exhibition, Royal Academy of Arts, London
2019- RA Schools 250, Royal Academy of Arts, Exhibition of prints commissioned by the RA
2019- Modell- Naturen, Alfred Ehrhardt Stiftung, Berlin. Touring public galleries in Germany 2019-20
2019- STRATA, 1PROJECTS Bangkok, part of Photo Bangkok
2019- Expanded Landscapes, Galerie Jean-Louis Ramand, Paris
2019- In Edition, Bo Lee Gallery, London
2018- ABSRACT : REALITY, Saatchi Gallery, London
2018- Adventitious Encounters- Open Space Contemporary at Whiteleys, London
2017- Mixed Winter Exhibition- Anima-Mundi, St Ives
2017- Nature’s Alchemy, Bo Lee Gallery, London
2017- You See Me Like a UFO, Marcelle Joseph Projects, Berkshire
2017- Nocturne, James Freeman Gallery, London
2017- Arles Summer Show / Voies Off, Arles, France
2017- Royal Academy of Arts Summer Exhibition, London
2017- Jamais on n’a vu…, Galerie Jean-Louis Ramand, Paris
2017- Traces, Bo Lee Gallery, London
2017- Selected Works, Galerie Jean-Louis Ramand, MIA Art Fair, Milan
2016- Trace Elements, James Freeman Gallery, London
2016- Liminal Space, The Loft at Lower Parel, Kochi, India
2016- Merge Visible, Mall Galleries, London
2016- Royal Academy of Arts Summer Exhibition, London
2016- Hinterlands and Pleasure Gardens, James Freeman Gallery, London
2015- Somewhere in Between- curated by Huma Kabacki, Karavil Contemporary, London.
2015- Brilliant Creatures, The Violet Hour at Strand Gallery, London
2015- Multiplied, Christies, London
2015- Royal Academy of Arts Summer Exhibition, London
2015- Progetto Pompeii- Andrea Ingenito Contemporary Art at MIA Art Fair Milan
2015- Eccentric Spaces- curated by Futurecity, The Gallery At Foyles, London
2014- Noir/ Blanc, The Loft at Lower Parel, Mumbai, India
2014- Vanitas, Karin Janssen Project Space, London
2014- The Combinational, Studio 1-1, Shoreditch, London
2014- Archaeologies, The Griffin Gallery, London
2014- Under Nature / Andrea Ingenito Contemporary Art, Naples, Italy
2014- Up and Coming Award/ Kids of Dada, Hoxton Art Gallery, London (Joint winner)
2013- Human Made Things, ASPEX Gallery, Portsmouth
2011- Saatchi’s New Sensations/ The Future Can Wait, Victoria House, London
2011- Afternoon Tea, 54th Venice Biennale, Italy
2011- Royal Academy Editions (Print Commissioned), Royal Academy of Arts
2011- Constructed Landscapes, Royal Academy of Arts
2009- Earth: Art of Changing World, Royal Academy of Arts, London
2019 Print Commission- Royal Academy of Arts (RA Schools 250)
2015 Print Commission- Royal Academy of Arts (RA Editions)
2014 BNL BNP Paribas Group Award Finalist (MIA, Milan)
2014 Kids of Dada Up and Coming Award (Joint winner)
2011 Print Commission- Royal Academy of Arts (RA Editions)
James Freeman Gallery, London/ The Contemporary London/ Galerie Jean-Louis Ramand, France

About the postcard artworks

Drawing from an archive of collected material, Suzanne Moxhay creates intricate and complex photomontages. Her method was derived in part from the early filmmaking technique of matte painting, where backdrops were painted on sheets of glass and integrated by the camera with the live-action on set. She builds up the image in her studio using cut-out fragments of source material, which she makes into small stage sets on glass panels. She then re-photographs the sets and manipulates the images digitally, an act of reprocessing which takes them further away from their original context and broadens the narrative potential. 
Her source material is drawn from an archive of collected imagery, which includes her own photographs of abandoned buildings as well as material collected from old books and magazines and fragments of paintings. 
She works intuitively with the material, finding points of connection between details, either through shared subject matter or formal considerations such as following the path of light from one image through another to create spaces, which at first may appear real but on closer inspection begin to dissolve. She plays with anomalies – of texture, surface, depth, space, scale, movement and architecture – to involve the viewer in the construction of the image, and to make them question it. In the finished work there is often an uneasy sense of a space that does not quite fit together - either formally or conceptually, but possesses a reality of its own. One which we are unable to pinpoint as factual or fictitious.