We saw Alastair Mooney back in January with his massive installation for the Juddy Roller event ILL-LOGIC and now we've caught up with him again to venture into the world that is his workshop.
It can seem very intrusive, walking into the workspace of an artist, especially when its as consuming and involved as Mooney's. And yet, peering into a creative space would seem unsatisfying if it were anything else but a sensory explosion of forgotten attempts and mid-constructions. Mooney's works span across many mediums, from sketches, to paintings and definitely some sewing, he's a man of many talents. After graduating from VCA, wood working just became one of those beautiful accidents; an inheritance of carving utensils, a mild obsession with power tools and affection for a material that is both comfortably organic and painfully unforgiving.
Mooney prefers working with Jarrah and Tasmanian oak and has a glisten in his eye when talking about venturing into other natural materials. We'll patiently wait for the marble sculptures.
His most recent work stems from a heavy influence by the classic American hip hop scene and those much loved action films from the 1990's. Who doesn't yearn for the days of the Die Hard sequels? Although he's created some notably large installations, as of late his attention as been given to working guns, money, mobile phones and the like, all of which are completely made of wood. There's an intricate and personal element to these projects. Mooney admits that part of the draw to working with wood is the three-dimensionality and personal interaction one can have with it, “we respond to it, it relates to us.”
These last few months for Mooney have been spent on a sure-to-be-amazing trip around Europe, so keep in eye out for more openings and installations towards the end of the year. But if you need a bit more before then, check out his website and have a hunt around Melbourne for some of his hidden and not-so-hidden street art.