Taken between 2002 and 2006 in Russia, Sweden, Vietnam, North Dakota and Asbury Park, New Jersey, these works represent a move away from Moore’s previous focus on the architecture of a single geographical location in favor of an interest in the grandly scaled inhabited landscape. Whereas Moore has previously used architecture as a way to explore themes of history and culture, in his landscapes, Moore contemplates the existence of man in the larger world of a particular natural environment.
In addition Moore has increasingly applied the themes and motifs of the tradition of painting to the creation of his photographic images. Moore’s Sea of Fog is a direct reference to Caspar David Friedrich’s iconic Wanderer Above a Sea of Fog. In Casino Rooftop Moore pays homage to the American trompe l’oeil painter John F. Peto a master of illusion who transformed paint into reality. In response, Moore turns the realism of photography into what seems at first glance a painting. Motherland, Kiev and Round Up #2, North Dakota are both ritualized spaces where the epic scale and harmonized landscape suggest an unreal sense of place. The former draws upon the stylized works of anonymous soviet propaganda; the latter on the tradition of 19th century painters of the American west. Fishing Village, White Sea references 17th century Dutch landscapes, in particular the moody combination of melancholy found in the paintings of Jakob van Ruisdael.