By Deborah Reed
WKTV Managing Editor
The works in Detroit-based artist Mario Moore’s Revolutionary Times exhibit celebrate Black power and resistance – and can be found at the Grand Rapids Art Museum (GRAM) through August 18.
“It has been an honor to work with Mario Moore on this exhibition,” said GRAM Curator of Collections and Exhibitions Jennifer Wcisel. “His highly realistic paintings radiate with warmth and life. They also prompt viewers to consider our country’s past and what legacies we’ve inherited from it.”
Revolutionary Times brings together three recent bodies of Moore’s work entitled A New Republic, Midnight and Canaan and A New Frontier. These works deftly collapse the past and present, illuminating stories buried or ignored in Americans’ understanding of history.
“A lot of times when we think about history, a lot of Americans don’t consider our past. [And] we end up repeating those same things,” said Moore.
A New Republic
A New Republic began as Moore recognized similarities between conversations surrounding the 2020 election and the political conversations that ultimately sparked the Civil War.
“That body of work was essentially started by a lot of the anger and frustrations of people on both sides of the aisle that were eerily and scarily similar to 1856-1858 leading up to the Civil War,” Moore said.
“We miss history because it’s not in front of us, yet it’s occurring all the time as we move through the world. It’s important for me to make those connections between the similarities because they are almost the exact same thing that might have been happening 200 years ago.”
Due to those parallels, it is important to Moore that he uses contemporary people and clothes viewers can recognize in his works.
“It puts the history right in front of you,” said Moore. “It makes it present, it makes it relevant because this is a kind of style, clothing, people that you can recognize. Then maybe because of that you start to ask: What is this all about?”
From that Civil War seed, Moore went farther back into history, questioning how Black people came to be in Detroit – and why.
That led him to the Underground Railroad.
Midnight and Canaan
“Even before the Great Migration north, there was a big black community in Detroit,” said Wcisel.
Only two works in Midnight and Canaan depict historical figures as opposed to more contemporary figures. Those two works are silverpoint drawings, a technique used by artists prior to graphite being accessible.
Instead of pencil, the drawings are created from actual pieces of silver. The values are subtle, the artist unable to render images as distinct as charcoal or graphite would allow. This generates an almost ghostly, historic quality to the works.
The gold thread seen on Moore’s silverpoint drawings was incorporated by his mother, Sabrina Nelson, and marks routes along the Underground Railroad.
“It’s meaningful to Mario,” said Wcisel. “He’s done quite a bit of silverpoint and thinks of it as imbuing these people with value. ‘I’m literally creating you out of silver to honor you.’”
Another section of Midnight and Canaan features a collaborative piece between Mario and his wife Danielle, a filmmaker.
Approximately five minutes long, the video is tied directly to Moore’s painting depicting the journey of Lucie and Thornton Blackburn. In the painting, Moore casts friends as the historic couple, but in contemporary clothing and a contemporary setting.
“But it’s still telling that story of the past in a way that makes it very clear that the present is so connected to the past. It’s this direct line between what was happening in the 1830s and these people today,” said Wcisel, adding that the two figures in the painting are the actors within the short film.
Escaping enslavement in Kentucky, the Blackburns lived in Detroit for a few years before being identified and imprisoned by a slave catcher.
The community of Detroit banded together to save the Blackburns, their efforts allowing the couple escape to Canada.
A New Frontier
Moore’s research into the Underground Railroad led him to the relationship between Detroit and Windsor, and Detroit and Canada – a pivotal point on the Underground Railroad to freedom.
Moore realized the city of Detroit had been founded to establish the fur trade in the United States to support fashion and culture in Europe.
“[He began] looking at the fur trade, discovering that it wasn’t just the French and indigenous people in partnership. They also brought enslaved Africans to be involved in the fur trade,” said Wcisel.
Moore began looking to Dutch paintings of European masters wearing furs for inspiration. And Pillars of the Frontier was born.
“Now [Moore] is putting these important women in his life in the role of those important men of the past who were making all the political and economic decisions at the time,” said Wcisel of Moore’s painting, Pillars of the Frontier.
“It’s the powerful women in his life. They are pillars of Detroit society, the Detroit community in many ways. And in a snowy Michigan landscape. It’s a wonderful painting.
Moore also included several books throughout the Revolutionary Times series.
“It’s a way that he is acknowledging the labor of these people who have informed his work,” said Wcisel. “You can very clearly see the titles and the authors, and it adds more depth to the history.”
Though Moore’s art carries complex themes, Wcisel says the artist’s message is easily communicated.
“He has such a way of explaining it in an approachable way so that his message can be very easily communicated to people reading about it, listening to interviews with him, and looking at his paintings,” said Wcisel.
Love immortalized
Moore also recently completed his first bronze sculpture – a bust of his wife Danielle titled Love.
“I’ve actually been working with sculpture and three-dimensional objects since I was a student in undergrad, but I’ve never done a bronze sculpture before,” said Moore.
Moore went on to say that he continually has ideas that make more sense in three-dimensional form.
“It was really just wanting to create an object and something that had a presence to it very different from a painting,” Moore said. “It ignites another part of the brain.
“And I wanted to try bronze. I’ve always been excited by bronze sculpture. I’ve always been in love with the idea of how it can hold the form of clay, but has the hardness and permanence of something more concrete. It was just the time to make it.”
Danielle, always willing to support her husband’s art, sat for Moore as he worked on the sculpture.
“She is his constant muse,” said Wcisel. “He’s always looking at her with an artist’s eye.”
Working with a Michigan foundry, Moore used lost wax casting technique. Initially carved out of wax, the wax bust was then cast in plaster to create a mold. The mold was filled with bronze, filling in gaps as the wax melted from the mold.
“We were so lucky to be able to purchase Love for GRAM; it’s part of our permanent collection,” said Wcisel.
Art = Life
For artist Mario Moore, art is a way of life.
“My mother is an artist, so it was always something that was present,” said Moore. “[I have] been involved with it my entire existence, so I don’t know anything else.
“It’s just a way of living. It’s how I see the world, how I take in information, how I think about ideas, how I do everything.”
Moore attended undergrad at College for Creative Studies for a degree in illustration, then received his Masters of Fine Arts at Yale.
Inspiration for Moore’s art comes from many venues.
“There is a lot of research and reading involved in my practice,” said Moore. “A lot of times, it’s just life. You’re watching something, and you’re seeing something occur.”
Everything is concept-driven, Moore added.
“It’s always an idea first, then from there I sketch out small compositions and thumbnails that make sense to me, but look like scribble-scrabble to anybody else,” said Moore with a laugh. “From that stage, it’s time to see who I can get to pose for the painting. Then it’s just about making the work.”
Moore went on to say that, despite having guidelines for a piece, things always change as the work progresses.
“The painting tells you what it wants to be,” said Moore. “Sometimes paintings die when you force them into being something. It’s important that the painting guides the way from the concept stage to actually making the painting.”
Moore hopes that each piece or series he creates possesses a new voice and direction, and he is always excited to experiment and work in his studio.
“He allows himself to be really fluid and flexible,” said Wcisel. “He is incredibly talented. I am in awe of his ability to capture people and faces…they look so alive.”
Honor Series: Portrayals of Harriet Tubman (left) and Sergeant William (Courtesy, Deborah Reed WKTV) 
During and After the Battle: Depiction of the Battle of Antietam (Courtesy, Deborah Reed WKTV) 
Free State: Audio project recording lives of Black Civil War soldiers (Courtesy, Deborah Reed WKTV) 
Moore’s paintings contain realistic detail, such as this portion of a painting where the subject wears an embroidered robe (Courtesy, Deborah Reed WKTV)
Recognizing local talent
“I love that we have this Michigan artist series project,” said Wcisel. “I love that we’re able to regularly give solo exhibitions to really amazing people working throughout our state.
“I think Mario is an artist who will be nationally and internationally known very soon. He’s doing amazing work; he’s really on the rise.”
Moore’s hope is that viewers of the Revolutionary Times series will take away something new and be inspired.
“I want the public to explore more on what they see in the show,” said Moore. “To question history, to question ideas. That’s always my hope.”
For more information about the GRAM Revolutionary Times exhibit, click here.
Certain paintings have an audio guide with Moore himself talking about those works. Look for QR Codes beside the paintings or on the GRAM website.
Find out more about artist Mario Moore by clicking here.
