| BORN: | - | - |
| UNITED KINGDON, 1971 | - | - |
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| LIVES/WORKS: | - | - |
| LONDON, UNITED, KINGDOM | - | - |
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| EDUCATION: | - | - |
| 2002 - 2005 | Royal Academy Post-Graduate Diploma | Royal Academy Schools |
| 1999 - 2002 | BA (Hons) 1st Class Degree | Camberwell College of Art |
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| SOLO EXHIBITIONS: | - | - |
| 2007 | Kin | The Wyer Gallery, London |
| 2007 | The Tower | Anna Klinkhammer Gallery, Dusseldorf |
| 2006 | Richard Moon: New Paintings | the Wyer Gallery, London |
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| SELECTED GROUP EXHIBITIONS: | ||
| 2007 | The Future Can Wait (curated by Simon Rumley and Zavier Ellis) | The Atlantis Gallery, London |
| 2007 | Salon Nouveau (curated by Jasper Sharp) | Engholm Engelhorn Gallery, Vienna |
| 2007 | Figure (curated by Sarah Myerscough) | Sarah Myerscough Gallery, London |
| 2006 | New London Kicks II, (curated by Simon Rumley and Zavier Ellis) | Wooster Projects, New York City |
| 2006 | John Moores 24, finalists exhibition | The Walker Art Gallery, Liverpool |
| 2006 | The Celeste Art prize Finalists Exhibition | The Truman Brewery, London |
| 2006 | Concrete Allotment (curated by Kristen Lovelock) | Temporary Contemporary Gallery, London |
| 2006 | New London Kicks (curated by Simon Rumley and Zavier Ellis) | Soho House, New York City |
| 2005 | New Paintings (curated by Jane Wyer) | The Wyer Gallery, London |
| 2003 | Sound of the Suburbs | The Woodlands Gallery, London |
| 2002 | The Next Big Thing | The Gallery, Cork Street, London |
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| AWARDS & RESIDENCIES: | - | |
| 2006 | Finalist for John Moores 24 | |
| 2006 | Finalist for The Celeste Art Prize | |
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| COLLECTIONS: | - | - |
| The Saatchi Collection, London | ||
| The Javier Baz Collection, Denver | ||
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| ARTIST STATEMENT: | - | |
| My work strives to create a particular effect through the re-contextualisation of various images, taken largely from anachronistic photography and re-interpreted in oil on canvas. Images that are distanced by time and corrupted through manipulation produce an effect both of familiarity and uncertainty, and the paintings’ strong association with photography brings with them all the effects of loss, longing and nostalgia that is often experienced when looking at such imagery. The liberties taken with source material produces an appearance of narrative, yet leaves the options open, inviting the viewer to deduce their own interpretation of the work. | ||