This December's Late at Tate was dynamic, exciting and impressively loud! Working alongside artist Joceline Howe, Tate Collective decided to focus on an intriguing and slightly ambiguous artist, Marlow Moss, for our event on the night.
Marlow Moss is another great artist so many of us had never heard of … or at least I, admittedly, hadn’t. Tate’s current display hopes to change that, with a delicate and focused display of her characteristic Abstract paintings and Constructivist sculptures.
Moss was definitely going against the grain in the mid 1920s when she changed her name from Marjorie to Marlow, chopped her hair into a mannish crew cut and began wearing a man’s blazer and cravat. At a time where many women still couldn’t get the vote and gendered conformity was expected, Moss was a daringly obvious and proud lesbian artist.
Living and travelling between London, Cornwall, Paris and Amsterdam, Moss was very much engaged in the International Constructivist movement. She had met Mondrian during her travels to Paris, where she exhibited frequently, and his influence is unmistakable; the same geometric criss-cross grids and black painted shapes float on pure, white backgrounds.
So, back to the entertaining bit ... we'd decided our main aim for the night was that all participants had a heap of fun, as well as the chance to discover and respond to the work of Marlow Moss and bring Constructivist geometry to life ... so a Shape Studio seemed the perfect place!
Drawing directly on the paintings and sculptures of Marlow Moss we isolated block-coloured geometric shapes and constructed them in cardboard covered in bright fabrics. We invited visitors to get creative at our Shape Studio in Tate Britain's South Duveens, placed against a white backdrop individuals, friends and families arranged themselves and their shapes to create an individual Marlow Moss inspired image and all captured by artist Nicky Giraffe.