622084_76587a51a532434ab8d26fd785c6a74dMy name is Maurice Moore. I have recently completed my Master’s in African American Studies at the University of Wisconsin–Madison in the spring of 2018. From 2011 to 2017, I have exhibited work and performed at the Christina Ray Gallery in Soho New York, the Lee Hansley Gallery in Raleigh North Carolina, the Greenville Museum of Art in Greenville North Carolina, the Gallery 307 + Orbit Galleries in Georgia Athens, and worked with Rios/Miralda for the Garbage Celebration performance. The exhibition for my Master’s of Fine Arts thesis at the University of North Carolina at Greensboro was installed at the Weatherspoon Art Museum in May of 2011. In 2012, my first solo show exhibited at The Center for Visual Artists in Greensboro North Carolina. Throughout my collegiate career I have been awarded residences, fellowships and scholarships at the Penland School of Crafts, Ox-Bow, the Rios/Miralda Garbage Celebration Residency, the Herbert & Virginia H. Howard Scholarship, the Helen Thrush Scholarship, Milo and Virgil’s Fabulous Fund Scholarship, the Advanced Opportunity Fellowship for the College of Letters & Science at the University of Wisconsin at Madison, and the Provost’s Fellowships in the Arts, Humanities and Social Sciences for your first year of study during the 2018-2019 academic year at the University of California-Davis. Based on performance practice, my work explores how Black queer people have implemented and created a means of survival through performance. Black performance serves as a mode of active radical resistance drawing upon traditions and technologies such as call and response, improvisation, masking, reading, throwing shade and African-American Vernacular English. In my work, I literally dance and/or move the Black body to create the work that determines the movement. Drawing on traditions of Black and queer performance has broadened my theoretical understanding of what it means to reconstruct, and simultaneously deconstruct my Blackness and my sexuality. In short, these performative processes have renewed the vitality of queerness and blackness in my current artistic practice as well as my scholarly pursuits.