Christopher has a BA in English from the University of Florida in Gainesville and an MFA in furniture design at the Savannah College of Art and Design. For 19 years he operated his design business and studio in Atlanta, GA, creating bespoke commissions for Lowes Hotel, One and Only Resorts, J Crew, Macy’s, and Absolut Vodka, as well as other international hotels, casinos, restaurants, retail outlets and private residential clients. In 2012 Moulder installed Mammatus, a kinetic lighting sculpture in the Arrivals Hall in Terminal F at Hartsfield Jackson Atlanta International Airport. Recent work includes exploring a technique he developed using fiberglass thread to create ethereal, cloud-like sculptures which are lit kinetically using computer controlled LEDs. He is presently a research PhD candidate at the University of New South Wales in Sydney, where he is exploring dance, light and sound through the creation of invisible sculptures at the Creative Robotics Lab.
|Christopher Mouder, Mammatus, 2012, nickle plated brass bead chain, lighting, aluminum|
My present project and PhD thesis at the Creative Robotics Lab at UNSW explores the creation of virtual, “invisible” sculptures which one can move through, occupy, dance with. My work to date involves light as a primary medium and is either kinetic or highly referential to movement and human gesture. However, I have always found the experience of simply viewing a work lacking. I want more than to simply have an audience look at a work for a few fleeting moments; I want them to experience the movement of the work, the essence of space and form, and the elements of light and sound by themselves moving to experience the work. The audience member becomes the performer and the only way to perceive the art is to dance with it.
|Christopher Mouder, Seraph, 2002, crystal, silk, aluminum, light|
During my residency at Gunyah I plan to explore the forms that my new sculptures will take and to research the human movement involved with creating them. As these sculptures are meant to be moved in, and through, their form is not determined so much by their visual appearance and the formal qualities one normally associates with sculpture (indeed they are invisible).
|Christopher Mouder, Kapow!, 2015, fiberglass, epoxy resin, light|