The idea behind this project and the initial desire to use these specific places is largely about looking at and shifting the relationship between the self, nature and God within their works. The first paintings I did, before the fellowship, had me at Kaaterskill Falls (from Thomas Cole) and the coast of Mount Desert Island (from Frederick Church). What caused this shift in location? As you have explored more places across the United States, how has this body of work evolved?ĬM: Absolutely, this project did start out with specific locations, based on locations used by artists within the Hudson River School. In our conversations at the studio, you mentioned that you started out with the intention to base your own paintings in the same locations as some of these works, but pretty quickly decided to use different places that you “discovered”. This work was largely influenced by Hudson River School painters such as Frederic Edwin Church and Thomas Cole. I know this helped support one of your recent bodies of work, paintings in which multiple Cobi’s playfully inhabit and explore various picturesque American landscapes. Shown: Untitled (Evening in the Grand Canyon) on the right, and yes, that is a New Kids on the Block photo on the left.ĪE: You were also awarded an SMFA Traveling Fellowship in 2011. The two years on the road was fabulous but towards the end I began to feel disconnected to my home and my community here in Boston. I also think that is why I felt the need to come back when I did. I think I have come away from this experience with a different way of approaching my practice and thinking about what’s important.
Sometimes I find it difficult to balance my studio practice with other aspects of my artistic and personal life, especially when I have deadlines looming over me.
My work can be very isolating at times and the structure of some of the residencies almost forced me to stop, slow down and really indulge in the really important social aspects of, not only being an artist, but also just being a person. Much of my practice is shut away in the studio without much interaction. I would say the community aspect of the residencies was probably the most influential part for me. I am very grateful to have had the opportunity to explore different areas of the US and meet some amazing folks from around the world. The last couple of years were incredible. Can you tell us a bit about your time at these residencies and how they have influenced your art practice?ĬM: Thank you, I am so glad to be back as well. You just returned from a long stint of traveling, attending 6 different artist residencies in the past two years. With my paintings I am often reflecting on art historical representation (both portraiture and 19 th century American landscape painting), using these traditions, partly, as a way of seeking inclusion creating spaces for both personal significance as well as a queer presence.ĪE: I know I speak for many people when I say how glad we are to have you back in Boston. My work varies from creating fantastical worlds where I’m multiplied throughout the grand American landscape, to re-imagining my physicality through hair (growth, loss and grooming), as well as documentation. A lot of my work begins from a place of exploration exploring multifaceted notions of the self, autonomy, and gratification. I think of my work in a very playful and often humorous way. It was so nice to have you here.ĪE: For those who may not be familiar with your work, can you give us an overview of your artistic interests and main driving forces in your different bodies of work?ĬM: Overall I’m really interested in navigating different aspects of my queer and trans identity. Cobi Moules in his East Boston studio, in front of Untitled (Winter in Wyoming)Īndrea Evans: Hello Cobi! Thanks so much for having us by your studio.Ĭobi Moules: Thank you so much for coming by.
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