"It seems oddly appropriate ... that 'Dark Eden' should end up in a city named for that ghost of the great American Serengeti - the buffalo," reads the entryway into Frank Moore's "Green Thumb in a Dark Eden" collection at the Albright-Knox museum.
From abstract interpretations of post-modern interactions between man and nature explored through vibrant splashes of color and detail, to the simplistic, yet deeply entrenched moral dilemmas associated with the artist's infection with AIDS, "Dark Eden" clearly portrays a man attempting to deal with and overcome conflict.
Moore's roots and lasting family tradition in the Queen City make his collection's display in Buffalo all the more fitting.
The collection depicts the conflicts of man and post-modernity, showing an extreme fascination with genetic engineering. It details battles with the demon that is AIDS and showcases the workingman struggling to maintain his values while adapting to an increasingly technological age.
Pieces such as "Beacon" and "Farewell" illustrate Moore's affliction with the AIDS virus. "Farewell," for example, is an emotional reincarnation of the day he found out that he and his longtime partner (Robert Fulps) were living with the deadly virus.
Though they tackle heavily emotional subjects, Moore's pieces continually shine light onto the ills of the world, with magnificent uses of color and contrast.
It is easy to observe that through the use of his artistic talent, Moore held his head up high and possessed a positive spirit with which to conquer his life's challenges.
One section of the exhibit includes an array of Niagara Falls oil paintings, capturing the essence of the Falls while illustrating how man and society have affected this natural wonder of the world.
Beautifully picturesque scenes of water tumbling over the edge are coupled with cell phones hanging from nearby wires. This symbolizes Moore's discontent with the new, technological direction the world is shifting towards.
"Black Pillow" captured one of Moore's most prominent themes of the collection: the rural, working-class struggle to maintain their ideals and way of life in an increasingly fast-paced society.
Paired with Moore's portrayals of rural, more traditional society is his fascination of genetic engineering, signified by his use of helixes and written chemical compositions and phrases sometimes intertwined in his paintings.
The piece that may draw most of exhibit-goers' attention is "Free For All." In this oil canvas piece, Moore included a very intriguing catch: An electronic surveillance system with a live video feed and a camera inserted into the eye of an eagle in the painting. As the viewer attempts to interpret the painting, they can watch themselves doing so, creating an odd, artistic feedback loop.
Most of the exhibit's pieces portray a struggle between life and death, between light and dark. Although Moore knew he was dying, he refused to give up on life.
His paintings are enlightening and alive, never surrendering to depression and darkness. Over the course of this series, he used humor, optimism and intelligence to counteract the ills that were plaguing him. The result is an elegant, but simplistic picture of his interpretation of the world. He never strayed far from the ideal of life being beautiful.
"Drawing is melody," Moore said. "Drawing nurtures the thought, connects the mind and soul to the page." In doing so, Moore connected himself with the outside world, without even saying a word.
Photo: Meredith Forrest Kulwicki
