Paul Moore, YOUNG SAN FELIPE GREEN CORN DANCER, 2017
Bronze, 16 1/2 x 9 1/2 x 7 in. (41.9 x 24.1 x 17.8 cm)
The Green Corn Dance is held by many Native American Peoples throughout the United States. It's an annual ceremony held at the beginning of the corn harvest or ripening of the corn crop. Each community has its own significance and social structure to this spiritual event, but most ceremonies are for giving praise and thanksgiving to God for providing them with the food that sustains them throughout the year. They also are for purifications, restoring balance and making of new beginnings.
The young dancer, in the sculpture, is wearing the traditional tableta (headdress) and clothing of the San Felipe pueblo that is worn during this special event.
Paul Moore | YOUNG SAN FELIPE GREEN CORN DANCER | 2017 | JRB Art at the Elms
2 / 11
Paul Moore, WARRIOR MUDHEAD, 2015
Bronze, 37 x 18 x 16 1/2 in. (94 x 45.7 x 41.9 cm)
The Mudhead Warrior hasn't been used in years, but his purpose was to control the sacred Mudhead clowns of the Hopi and Zuni cultures. He didn't participate in the antics and performances of the Mudheads, but once he felt they had done enough, he would take his Yucca whip and whip them into a pile and purify them with sacred water. The band around his mask represented his warpath.
Paul Moore | WARRIOR MUDHEAD | 2015 | JRB Art at the Elms
3 / 11
Paul Moore, THE ELDER, 2014
Bronze, 27 1/2 x 26 x 18 in. (69.8 x 66 x 45.7 cm)
I have built a reputation for my portrait work; some of my portraits are in major collections including the Smithsonian's National Portrait Gallery and the U.S. Capitol Collection. Over the years, I have become fascinated with the human face, especially older ones. They can tell a life's story in the folds and wrinkles. I hope in my piece "The Elder", the viewer can see and relate to the possible stories and struggles of this man's life.
Paul Moore | THE ELDER | 2014 | JRB Art at the Elms
4 / 11
Paul Moore, THE BUFFALO JUMP, 2013
Bronze, 44 x 24 1/2 x 24 1/2 in. (111.8 x 62.2 x 62.2 cm)
The use of the "Buffalo Jump" or "Pishkin" was the only way the Native Americans could survive before the introduction of the horse by the Spanish. Archeological evidence shows the "Pishkins" were used as early as 12,000 years ago. The act of running the buffalo off a cliff was the only process that man could use to take down an animal of their size and speed. The act wasn't invented by man to be cruel; it was created by them to survive.
I wanted to challenge myself to create a sculptural composition of weightless buffaloes freefalling from a cliff above. I don't look at this piece as a sculpture of death, but a sculpture of life for the Native Americans. Without the sacrifice of the lives of the buffaloes, the Native Americans would not make it throughout the year.
Paul Moore | THE BUFFALO JUMP | 2013 | JRB Art at the Elms
5 / 11
Paul Moore, FLY SEASON, 2012
Bronze, 16 1/2 x 11 x 8 3/4 in. (41.9 x 27.9 x 22.2 cm)
Paul Moore | FLY SEASON | 2012 | JRB Art at the Elms
6 / 11
Paul Moore, OFFERING TO THE SUN, 2012
Bronze, 14 1/2 x 40 x 14 1/2 in. (36.8 x 101.6 x 36.8 cm)
The Sun Dance is a religious ceremony that is practiced by many of the Native American peoples. In the "Offering to the Sun", I am showing part of the Blackfoot ceremony. It consists of four to five days of dancing, praying, fasting, and offerings. The dancers are pierced in the chest and fastened to pegs and rawhide thongs which are attached to a center pole and in some cases pierced in the back and attached to buffalo skulls. In the meantime, he is dancing, fasting and denying himself water, which eventually causes visions, physical and mental exhaustion and sometimes unconsciousness. The offering of their bodies as a personal sacrifice in this ceremony is given for many personal reasons, but mostly it is a sacrifice for their community or personal family.
In the sculpture "Offering to the Sun" it depicts the moment when the dancer after many days of fasting and dancing finally pulls the pegs and rawhide thong loose from his back and collapses in exhaustion. While sitting on the ground in total exhaustion he continues to blow his eagle bone whistle and falls into the vision world.
The sage bands are wrapped around his head, arms and legs. Other than that he is only wearing his breach cloth and eagle bone whistle. His body is painted white and marks are made on his body representing the sun, moon and stars.
Paul Moore | OFFERING TO THE SUN | 2012 | JRB Art at the Elms
7 / 11
Paul Moore, SHALAKO AND THE ZUNI GIRL, 2012
Bronze, 26 x 14 x 13 in. (66 x 35.6 x 33 cm)
The Zuni Shalako is a ten-foot kachina used for blessing homes and structures during their winter ceremonies. Like the Hopi, the Zuni give kachina dolls to their children as a learning tool to recognize the different entities and gods withing their culture.
Paul Moore | SHALAKO AND THE ZUNI GIRL | 2012 | JRB Art at the Elms
8 / 11
Paul Moore, THE OUTLIER, 2012
Bronze, 36 1/2 x 15 x 22 in. (92.7 x 38.1 x 55.9 cm)
The term Outlier was used in the old West for an individual that went on a personal "warpath" to seek revenge. In this piece, I wanted to show a man that was determined to scout out the offending party, so he could dish out his own personal justice.
Paul Moore | THE OUTLIER | 2012 | JRB Art at the Elms
9 / 11
Paul Moore, THE GHOST WRESTLER, 2011
Bronze, 19 1/2 x 10 x 22 in. (49.5 x 25.4 x 55.9 cm)
In the folklore of the Sioux, there is a story that tells of a late-night encounter around a warrior's fire, where a ghost described as a rotting corpse challenged a warrior to a wrestling match. If the warrior won, then he will be victorious over his enemies. They wrestled throughout the night; the closer to the darkness, the ghost became stronger and the closer to the fire, the ghost became weaker. Finally, the warrior pushed the ghost towards the fire and kicked a log on the burning coals and when the fire flared up the ghost crumpled to the ground. The warrior, as promised, became victorious over his enemies and stole many horses. They say, to this very day, this is why the Sioux always listen to ghosts.
Paul Moore | THE GHOST WRESTLER | 2011 | JRB Art at the Elms
10 / 11
Paul Moore, BEFORE THE DANCE, 2007
Bronze, 23 x 19 x 14 in. (58.4 x 48.3 x 35.6 cm)
Paul Moore | BEFORE THE DANCE | 2007 | JRB Art at the Elms
11 / 11
Paul Moore, THE INSPIRATION OF THE STORY TELLER, 2006
Bronze, 21 x 14 x 15 in. (53.3 x 35.6 x 38.1 cm)
"The Inspiration of the Storyteller" was inspired by the famous Chickasaw storyteller Te Ata and the folklore and mythology of the Native American People. She is sitting among many of the animals that are the center and inspiration of many of the stories. The tortoise and the hare story is exactly the same as the one told in Greek mythology. The owl is the bearer of death and bad news, the crow is the prankster and the beaver is the ideology of hard work and prosperity. I placed the ermine in the sculpture, because it is the lead character in one of my favorite Blackfoot stories called "How the Ermine got its Color". Te Ata, like all storytellers, passed on the wisdom of the Peoples to the next generation preparing them for the future. She also shared these stories, around the world, to a vast array of individuals from children to Heads of State.
Paul Moore | THE INSPIRATION OF THE STORY TELLER | 2006 | JRB Art at the Elms
Tip: You must first enter a valid email address in order to submit your inquiry