SHAKING THINGS UP
London, April 2023
With his organism-like and boldly hued textiles, TOM ATTON MOORE is fighting the ever-growing epidemic of beigeness in the world. In his practice, the British artist seeks the feeling of tension and oddness - creating pieces inspired by new worlds, apocalyptic visions and plant life taking over. Atton Moore’s striking perspective has been recently recognized by one of fashion’s most-talked-about designers, Daniel Lee, who asked the artist to collaborate with him on a series of installations showcased in Burberry’s Paris store windows celebrating his debut collection for the house. We visited Atton Moore in his London studio and spoke about the versatile nature of his work, experimenting with three-dimensional shapes and letting yarns choose the colors of his pieces.
When did you first discover the potential of working with textiles?
Initially, I did a lot of print at university, but I eventually started to work a lot more with weaving – it felt like a natural progression to me because it was also about creating blocks of color to make up an image. I always found textiles and using yarn to be a very familiar way of making art. I think that textiles have this nature to them that everyone understands, and they break down this thinking regarding what constitutes “fine art”.
How did you go about making your first piece?
I made it in my tiny bedroom. I turned the bed frame into a frame and used a vintage tufting tool. And then, I just started to make these pieces. Actually, when I did a show in LA last year, I remade the first-ever piece that really stood out to me. It was something that I really wanted to do again because I remember feeling so proud when I made the initial one. Recreating it on a larger scale felt so rewarding.
What attracts you to working with this medium? What does it allow you?
I really like its versatility. I enjoy the fact that some people view my pieces as rugs and some people view them as fine art. You can play around with it and different spaces create different meanings. At the moment, I’m really trying to put more pieces on the wall and play around with the idea of, “What is this?”, letting the viewer make the decision.
So you’re a fan of people using your works for purely decorative reasons in their homes?
For me, once the piece is in someone’s space, it’s up to them. I think that people who buy my works and put them on the floor are still treating them as art pieces. I’m fine with people walking over them, but they usually still have a bit of cautiousness to do so – even though it’s on the floor and it’s meant to be walked over, people still become very proud of them. So I really don’t mind.
How would you say your technique has developed over the years from those first pieces to the works that you’re creating today?
Right now, I’m really aiming to make things more sculptural and unexpected, playing with pile heights and movement. I’m trying to create them more like a painting, allowing the bits of yarn to blur into each other. My goal is to get more and more progressive and do things that you wouldn’t expect from a rug or a textile.
Your pieces feel like living organisms in a way. What is the inspiration behind their shapes, colors and textures?
Much of my work is inspired by new worlds, apocalyptic visions and plant life growing over things and taking over – a lot of it lies in fantasy. I usually start with collecting images that are depicting either plant life or just things that I came across and found interesting in my day-to-day life. Then, I make collages of them, play around with color, and blow them up. The colors that I’m drawn to have this humanness about them in a way because they are quite vivid, strong and bold. So the pieces are often born from that contrast between “naturalness” and “humanity”.
Do you usually know what the piece is going to look like before you start working on it or does it happen more spontaneously?
I have a rough idea for a piece when I start. I used to get all my yarns and know exactly what colors I would use in the piece from the beginning, but now, I kind of allow my yarns to choose the color space. And so, I don’t really know what palette I will be using – I go into my yarns and try to use all of my off-bits. I found a lot more exploration through all my leftover yarns as opposed to the yarns that I was buying with the intention of, “Ok, I’m going to put that color there.” The process feels freer that way.
You recently collaborated with Burberry and their new creative director Daniel Lee on a couple of installations - how did this collaboration come about?
I initially got contacted by Burberry a couple of years ago, but things didn’t work out at the time. Then, they reached out to me again recently saying that Daniel wanted to use textiles and rugs for the window displays. I actually think that I slightly manifested this collaboration. [Laughs.] When I heard that he was taking over the house, I thought, “Oh, he’s probably going to want to work with some British artists and I would really love to do that.” Then, they got in touch with me regarding the windows, I met with him, and we started to also speak about creating something for the Paris showroom.
That’s amazing! What do you admire about Daniel’s work for the house? Do you see any connections between what he’s doing and your practice?
I love the way he brings the artisanal craft into the fashion sphere. The way he plays around with leathers and other materials to create surfaces is quite similar to how I play around in my work. We also both like bold colors and making statements with them in our respective fields.
What type of pieces are you most excited about creating right now?
Something that I’m focusing on now is trying to create three-dimensional objects. I have been recently working on a metal urn with tufted sections tumbling out of it. I love that the metal, which is so unapproachable and so harsh, is covered by this yarn that you really want to touch – it’s like they’re in constant competition with each other. I also love creating environments, which is why working on that big piece for Burberry’s showroom felt so good.
What’s your dream location to have your works exhibited?
Somewhere that feels really odd and unexpected – I would love to have a show in a super industrial, huge space and then create these little pockets with the textile and metal pieces. Also, somewhere outside – I wouldn’t even mind if the yarn would get more shaggy from the wind or got wet and moldy, I think that could also be quite beautiful.
Why do you think you’re attracted to this feeling of tension and oddness?
I think it stems from the fact that everything feels very safe in the world. There are loads of stories being published now about how much color we’re losing in the world and how everything is becoming beige. Everything is becoming so muted and comfortable and I’m just trying to fight a bit against it and shake things up.
Interview by Martin Onufrowizc
Photography by Benjamin Werner