art treatise
observation and problem-solving
Trey Moore’s unique perspective on design informs both his teaching and his artistic work.
THOUGH we are still sometimes reticent about
speaking of technology and art in the same
breath, contemporary artists of a wide variety are
exploring the connections between technological
innovation and artistic practice. And while many
are dealing with this relationship literally, incorporating tech-nical
mediums or depicting technological questions in their
work, others consider
their equally rich
conceptual overlap.
For North Carolina
native Trey Moore,
who teaches technol-ogy
and engineering
design and maintains
his own visual art
practice, the prin-ciples
of design and
problem solving are
important connective
threads between the
two mediums and
philosophies.
Earning a bach-elor’s
degree in envi-ronmental
design
from North Carolina
State University’s
prestigious College
of Design, Moore
likes to joke that he
managed to go through a design school and end up with a
fine arts degree. The program, then in its infancy, allowed flex-ibility
in its coursework and Moore remembers splitting his
time between drawing and painting studios and architecture
studios.
As an instructor in North Carolina public schools, Moore
shares the principles that shape his own practice with his
students, even if that isn’t quite what they might expect.
He explains, “Between what I do at school and what I do as
an artist is that thread of design. The training I received as
a designer was all about observation, which includes learn-ing
to draw by looking at your subject instead of your paper
and restructuring how you look at the world around you.
Design and engineering is the same way. It’s not just about
solving problems, but being able to identify them. Design is
really about observation, so I try to teach my students how to
become effective problem solvers and creative thinkers.”
This intellectual commitment is visible in Moore’s work in
the attention to detail, intimate and intriguing vignettes, and
precise composition of his drawings and paintings. Watercolor
and drawing pieces like “Henrietta” and “New Hanover County
Courthouse” provide unique and engaging perspectives
on well-known and well-loved fixtures of the local coastal
august 2019 54
WBM
community.
“Henrietta” shows
the iconic riverboat
straight-on, docked
on the riverfront
walk and framed by
a small section of the
downtown skyline.
The simple composi-tion
is set slightly
right of center and is
anchored by a pole
or Riverwalk feature,
which cuts into the
viewer’s line of sight.
Both lines and details
are chosen sparingly,
and the paint appli-cation
is delicate and
bright. A simple color
palette of red, blue
and green is used
to draw visual asso-ciations
between the
boat and its surroundings and complements the wispy lines
and cross-hatching of the drawing underneath. In person,
the famous vessel is clunky and rectangular; a large block of
white, standing out as it chugs along the horizon. In Moore’s
intimate depiction, the boat is integrally connected to its
environment, blending seamlessly with historic buildings and
impressive trees. Perhaps observing the important relation-ship
that the ship has to the town, historically and contempo-raneously,
Moore conveys this symbiosis in his drawing and
watercolor interpretation.
“New Hanover County Courthouse” is more elaborate, but
similarly showcases Moore’s unique attention to the life and
personality of his subject matter. Playing with perspective and
line quality, this piece represents the historic building from a
street-side view and flanked by stoplights, pedestrian cross-walks
and light poles. These contemporary features contrast
By Kathryn Manis
New Hanover County Courthouse, 9 x 12 inches, watercolor on paper. Opposite:
Finished pieces fill the walls around Wilmington artist and teacher Trey Moore
in his space at ACME Art Studios.