Colour - Wood - Light - Fabric - Sound - Ceramics - Collage
Photo by Sveva Costa Sanseverino
'I feel love - rage - care - when I work.
I cut out shapes with different tools - in a variety of material - wood - birch plywood - chickenwire tin - fabric - fabric - paper. Clay is different - because what hides inside comes out.
I paint everything with Flashe paints (originally made for murals), they have the best luminous-forever-lasting pigments - with a very flat dry surface - which I love.
Fabric - I use more for color & shape than texture - (it might change).
Working - I am very slow and at the same time intense deadlines are my best lifelines. The subconscious moves in to rule and I become the tool.
Other times I spend a lot of time just looking at the work I am involved with. (The moment when the work tells me it’s done is quite liberating). I look for small moves and big decisions to be made so the work can (will?) emit some kind of life.
The woodwork as I call it - includes electric light - where the actual lamps are hidden so the work glows from within. It usually takes the form of wall sculpture.
Since June 2003, I have worked mostly with photomontage. I find it a good vehicle to reflect the current situation we are living and existing in. It being appropriated material matters a great deal. I have collected magazines etc. for a long time with the plan to make collage at some point.
It started late 1990s-2000 when I collaged furnitures - objects - walls - floors with printed matter global newsprint and photos. It amused me that if we don’t know the letters of the language we are lost (informationage!)
A coincidence got me started to make individual collage images - it is a very interesting expedition to find the images - coming from all sources sometimes spending 50-60-70 years in one image and bring it to a feeling of nowness and concern is very exciting - like a ball that started rolling in ancient time connects everything.'
- Moki Cherry, unpublished writings
'The transportable and transformative capabilities of tapestry enabled Moki Cherry to create artworks that occupied different environments. This mobile artistic practice engaged with Cherry’s utopian life vision of "home as stage, stage as home" that was centred around the interconnectivity between different artistic mediums and collaboration. Cherry’s tapestries access, move between and make reference to the distinct spaces of home, stage and museum due to the status of her artworks in these environments. The layered mobility of Cherry’s tapestries enabled the artworks to exist in multiple spaces across time, while being at tension with a fixed definition within each distinct environment. By doing so, they created an aesthetic that interlinked these spaces through their capacity to build an unfixed and mobile enclosed textiles environment, a ‘secondary-space’, in each context of display.'
- Evie Ward, 2018
Don and Moki Cherry in their kitchen in Gamla Stan, Stockholm 1968
Collection of Moki Cherry Archive
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