I’ve been making art since I was five. Raised in a blue-collar family in Hope, Rhode Island, I followed a hands-on path that began in the industrial trades — from installing piping on Trident submarines to mastering concrete and metalwork. Even then, I knew my true calling was creative: something more expressive, tactile, and transformative.

For those readers who are interested in a more comprehensive artist biography, please check out the blog page on this site – https://grandprovidentiaunited.blog/blog/

While excelling in my full-time roles in manufacturing and construction, I dedicated nearly a decade to mastering fine art at the Community College of Rhode Island. My primary focus was on hand-built terracotta sculpture, complemented by my practice in drawing, painting, and multi-media fabrications. During my first year at the Ringling College of Art and Design in their Foundations program, I continued to study and explore traditional fine art practices, stepping up to an intermediate level of mastery over the tools and techniques. The following images are a select representation of my work between high school graduation and my first year at Ringling.

When a rare opportunity arose at Ringling College of Art and Design, I secured one of only 40 coveted seats in their esteemed Computer Animation program, chosen from over 1,200 applicants. My family and I boldly relocated to Florida, fully committed to embracing a creative life. During my time at RCAD, I immersed myself in the art of motion pictures, and I was instantly captivated. I had always aspired to build a career in the movie industry, and now I stood on the brink of producing live-action films.

Though my undergraduate studies focused on animation and CGI, I have always recognized that my true passion resides in physical fabrication — specifically, animatronics, sculptural storytelling, and world-building through form and texture. Over the next decade, I made a deliberate transition from a two-year tenure in computer animation to the bronze sculpture industry following the dissolution of Aston Worldwide Entertainment. I honed my skills in lost wax bronze casting at Bronzart Foundry Inc. in Sarasota, FL (2002-2008). During this period, I had the profound privilege of collaborating with the esteemed artist Robert Rauschenberg shortly before his passing. I served as the sole patina artist for the first four bronze editions (out of five) of a reproduction in bronze of Rauschenberg’s “The Ancient Incident.” I met with the iconic artist on multiple occasions at his studio on Captiva Island in Florida.

The Ancient Incident (Kabal American Zephyr) 1981-2006

Scott Joseph Moore – Original Bronze Sculpture

“Providentia”

Limited Edition bronze sculpture – 1/5

Rising above the traditionally non-functional approach to visual artwork, the creation story of Providentia is unique in that this bronze sculpture was intentionally channeled and manifested into this time and space to serve as a functional conscious energy device. Throughout my life as an artist, I have always sensed that the artwork I envision and bring into being is, in a way, just passing through me. It’s as if the work is already there and I just need to manifest it conceptually and materially. Providentia, is without doubt the most powerful work of art that I have ever channeled into existence. I feel as though the unrealized art object was there waiting patiently for me to express it and usher it into reality. The creation itself was merely on standby until I was strong enough to draw the artwork through and materialize it. To many people, the previous statement might sound contrived or even pretentious, but I must insist that this is indeed what it feels like when I manifest a work of authentic art.

Originally, Providentia was titled “American Dream Catcher – Peace, Power, Love & Riches”, but once the sculpture was cast in bronze, I decided that it needed a more dignified title to match the innate beauty of its form. I began to see Providentia as being an embodiment of male/female spiritual energy rather than just an ordinary art object.

Physical Properties of “Providentia”

Providentia – Bronze casting mounted on a black marble base. Limited Edition: 1/5

The partial orb (Low Frequency Reflector) in the bottom section is chrome-plated bronze. The fluted globe (Containment Reservoir) in the upper section rotates via the hand operated spindle at the top of the device.

Dimensions: 39″ H x 16″ W x 16″ D ~ Weight: 100 lbs.

Approximate time involved: 420 hours from concept to completion.

Price: $25,000.00

Note: This is an original sculpture by Scott Joseph Moore. Ordinarily, the sculptor of an original model (using their preferred materials), brings the artwork to a bronze foundry to be molded, cast and finished (patina) by the foundry technicians. In the case of Providentia and the other bronzes I’ll be featuring on this blog, I performed at least 75% of the work involved. There are specific steps during the bronze casting process that are best performed by a team, such as the pouring of the molten metal, but even in that regard, I was part of the team that poured all of the bronzes I’ll feature here. Having more than 15 years of experience in the bronze sculpture industry and having specialized in metal finishing and patina application, I can testify with complete transparency that the bronze work involved with materializing Providentia is of my own creation. I applied the poly-chromatic patina on Providentia over the course of two 10-hour days (20 hours).

There was an abundance of conscious intention and purposeful execution involved in the creation of Providentia. The separate design elements featured in this photo; each have their own function and are also integral parts of the whole “Harmonic Dream Conservatory”.

Providentia ~ A Conscious Energy Transmitter, Receiver and Reservoir

Included with the sale of Providentia 1/5, will be a custom wood pedestal (painted in the color of your choice) and a classic bronze “Personal Dream Realization Device” so you can carry the power of *Providentia* with you, wherever your intentional journey takes you.

Commercial Sculpture Studios

In 2008, I founded the first of two commercial art studios I owned and operated in Southwest Florida, producing custom sculpture and fine art for public spaces, nonprofits, and private collectors. What follows is a curated selection of some of the most meaningful and rewarding projects I produced as owner and creative director of S.M.art Castings & Sculpture Services, LLC and Moore Art Expressions.

Custom Bronze Commissions

“Puppy Love”

**Commission to produce life size female training a puppy for Southeastern Guide Dogs, Palmetto, FL**
**Left: 14″ original maquette (proposal). Right: Installed “Puppy Love” bronze monument.**

During my years in concrete construction, I learned to form, pour and finish concrete, so when I was chosen to sculpt and produce the “Puppy Raiser” bronze monument for SGD, it was with confidence that I offered for Moore Art Expressions to construct and install the base for the sculpture as well.

Left to right: My son Christopher and I had removed the patio blocks and dug the hole the day before, so when we arrived at the site, it didn’t take us long to mix, pour, reinforce and level the footing which would support the large prefab pipe section we would use for the custom base.

1) Chris carefully leveled the surface of the concrete footing to ensure the pipe section would also be level when installed. 2) A few days later, Fred and I delivered the concrete pipe section, using a gantry to lift the 500 lb. cylinder off the truck. 3) After rolling the gantry (hoist) from the truck to the installation site, we lowered the piece into place. 4) Now we were ready to backfill around the pipe section.

1) Pipe section with initial stucco surface and backfill. 2) Wide shot of the base on site. 3) After filling the inside of the cylinder with gravel and compacting it to 8″ below the rim, we added 4″ concrete, steel reinforcement rods and then 4″ more concrete. 4) Once the concrete was ready to finish, I troweled the surface until it was precisely flush with the top of the pipe section.

1) My life in the skilled trades taught me to value a tidy workspace. I like to clean as I go, so once the troweling was complete I did a thorough cleaning of the surrounding patio bricks. 2) Leaving the site that night, I thought about how these skills I had learned thirty years previously had sure come in handy on this project. 3) A few days later, I returned to see that the general contractor on the construction site had finished the stucco work and replaced the surrounding brick. 4) Back at the studio, I had already begun the work on the life size steel armature for the original clay sculpture.

1) To minimize the amount of oil clay needed to build up the female figure over the steel armature, I hand carved foam and secured it to the armature with Great Stuff foam gap filler. 2) To maximize the sticking qualities of the oil clay as it is being applied to the foam, we coated the entire figure with casting wax. 3) Alexa Sims jumped in to build up the oil clay on the foam and steel armature. 4) Meanwhile, I was piecing together the puppy armature, using the female figure for size adjustments.

1) During the “roughing out” stage of the sculpting process there is usually a lot of pushing and pulling (adding and subtracting) of clay as size adjustments are being made. 2) At first, we kept the puppy separate (unattached) to the figure base so we could work on it at eye-level on the tabletop. 3) When I was satisfied that the original sculptures were working well together, I decided it was time to start finishing the clay surfaces. 4) Refining and texturing the clay sculpture is usually the most time-consuming process in the creation of originals. It’s also some of the most fulfilling work for me, as an artist.

1) The original sculpture for the cast-bronze base. I wanted to “cap” the concrete pedestal with a simulated bronze walkway to add aesthetic appeal, but also to add structural strength to monument as a whole. 2) During the final refinements of the clay originals I always look more often to the reference boards for precise details. This is also the time when I work closely with the client, inviting them to voice any final preferential changes before the molding process begins. 3) To make the molds more manageable, it is customary to cut the original sculpture into pieces and mold them separately. 4) Chris Moore and Mordechai Ramos make rubber and gypsum molds of the dismembered parts of the puppy and female figure originals.

1) Quality molds don’t come easy! Each step of the mold process requires attention to detail and proper application of the mold making materials. 2) The only step of the bronze process that we weren’t equipped to perform at Moore Art Expressions was the pouring of the bronze. While I have plenty of experience with the pouring process, I chose to have the bronze parts poured at American Bronze Foundry, Inc. in Sanford, FL. I subcontracted them to “cast and blast” all bronze parts for the “Puppy Love” monument and many other bronzes our team produced at Moore Art Expressions and S.M.art Castings & Sculpture Services, LLC. 3) Once all the bronze was cleared of imperfections, it was time to begin welding the parts together. 4) The base needed some serious sledgehammering to get it into shape. During the wax casting phase, it is commonplace for large flat surfaces to get twisted and disfigured.

1) Chris refines the detailing of the faux river stones by grinding the surfaces and replacing the shapes and textures where the welded seam fused together the two halves of the circular base. This process of metal cleanup is called “chasing” in the bronze industry. 2) The Moore Art Expressions studio in Port Charlotte was saturated with creative spirit. Our team took pride in keeping a clean and orderly workspace, believing that our studio was a showcase for the art we were producing. 3) It’s easier to deal with the most problematic issues with the raw bronze if you take care of them before welding each section to the larger whole. Female and puppy torso/head sections. 4) I welded a stainless-steel post into the leg section in order to attach the female figure securely to the large circular base. This steel infrastructure unified the female figure, the puppy, and the base, maximizing the monument’s overall structural integrity.

1) Reconstructive welding is difficult work, but it is also one of my favorite processes because of the necessity to maintain exacting control over the heat being applied to the various material thicknesses while using the appropriate filler rod to weld the sculpture back together. 2) It’s always a pleasure to see the sculpture fully constructed in bronze for the first time. The sculpture takes on a whole new level of importance when it has been transformed from a clay piece into bronze. 3) Christopher, fitting the bronze leash which will finish the metal work for the monument. 4) Once all the welding, grinding, and sanding is complete, it’s best to unify the surface by sandblasting the entire bronze. This reveals any remaining inconsistencies in the bronze surface, which should be repaired before the patina process begins.

Four shots of the assembled bronze, sandblasted, conditioned, and ready for patina.

On the day the patina process was set to begin, I brought the entire sculpture up to a high luster, using abrasives and conditioning pads (Scotch-Brite). This ensures that any oils or areas of oxidation will not inhibit the attachment of the patina materials. The client had requested a colorful patina, this called for both nitrates and oxides, both specifically formulated to adhere to the bronze surface.

The first step in the patina process is to “antique” the bronze surface. This requires uniform levels of moderate heat and the application of an antiquing solution to lay in the dark tones and emphasize the highlights. Then the surface is rubbed back again, using Scotch-Brite pads, giving it the appearance of a naturally aged piece of bronze.

This was an elaborate patina because it was polychrome. All the colors needed to be applied at precise heats (fairly high), so they’d stick to the underlayers below them. Also, the patina materials are very thin like watercolors, so they have a tendency to either run or splatter if the temperature of the bronze isn’t optimal for adhesion of the patina solutions. Patinas are built up on the surface, but they are not like paint, they are rarely more than a few microns thick. This patina took me approximately 18 hours to complete. I sprayed the clear coat (acrylic lacquer) on the piece in the wee hours of the morning, after pulling an all-nighter, so we could install the sculpture that very same day on the Southeastern Guide Dog campus. They were hosting a dedication ceremony for the new Puppy Training Facility and had been checking in regularly with hopes to have it installed for the celebration.

The biggest concern I had when we delivered “Puppy Love” to the site for installation was that the fresh patina and the 3 coats of lacquer which hadn’t had quite enough dry time. We needed to be especially vigilant while we were strapping it into the truck for the trip to SGD and also when we were hoisting it out of the truck and lowering it into place on the concrete base. The whole operation went off smoothly though, and the weather was grand in Tampa Bay that day.

The final step of the installation process was to drill mounting holes in the concrete pedestal top so we could cement the sculpture to the base. During the assembly phase of the project, I had welded in four threaded mounting blocks on the bottom of the base – these were basically threaded receivers for 1/2″ diameter stainless-steel threaded rods which extended beyond the bottom edge of the sculpture by about 12″.

It took us about 7 months with nine full time team members to produce and install the “Puppy Love” monument. At Moore Art Expressions, we always endeavored to work smart and safe. As I remember it, our team shared a strong sense of accomplishment when this project was complete. I believe that each one of us had also attained a new level of understanding concerning the process of bronze sculpture production.

Other Bronze Sculpture Commissions

Commissions to Produce Various Dog Portrait Bronzes

Commission to produce 2 life size Collies in bronze – Beau and Lacey

Commission to produce 5 life size dogs in bronze (2 Pugs, 1 Yorkshire Terrier, 1 Pomeranian, 1 Pekingese)

All 5 bronze dogs were installed in client’s home, attached to furnishings as specified by patron.

Commissioned to produce miniature bronze of Ghost, American Pitbull. Length of bronze – 10″

Commissions to Produce Bronze Portraiture

Commission to Produce 1.5 Life Size Upper Body Portrait of Jay Wiess for Miami Medical Center, Miami, Florida

From Left: 1) Maquette proposal, 2) Maquette with rough enlargement, 3) Refined enlargement

Commission to Produce Bronze Bust of Kenny Soderblom (Jazz Musician)

Sculpted by Scott Joseph Moore at S.M.art Castings & Sculpture Services, LLC, Sarasota, FL 2011

An abstract approach to the form led to an unusually complicated armature.

The molding process (not shown here) was also technically challenging and required the production of multiple molds. Credit goes to my brother Kevin A Moore for tackling the saxophone modeling.

I fabricated the glasses using 1/4″ bronze rod. The bust was sculpted at 1/2 life size.

Custom Bronze Sundials

Commission to produce bronze sundial for local Pastor’s 25th Anniversary Celebration.

Sundial installed on natural stone plinth (2 bronze pins).

“Family Readers” – Bookends

Commissioned by a well-respected Sarasota businessman to produce these bronze bookends mounted on black marble bases.

Scott Joseph Moore – Bronze Sculpture

“Fantella Fantastic”

Limited Edition bronze sculpture – Edition of 50

“Fantella Fantastic” is my latest bronze sculpture, born from a vision of hope and resilience. I designed and sculpted the original, leading to the production of the first 5 pieces in an edition of 50, just as the clouds of the pandemic began to lift in 2021. At that time, while residing in Allentown, PA, I aspired to create a sculpture that could be proudly displayed on a staircase railing or on any tabletop in Pennsylvania’s prevalent townhouses. I envisioned it small enough to harmonize with interior décor but powerful enough to captivate any room and draw the eyes of its admirers. Above all, I sought to craft a design that would bring smiles to faces, uplifting spirits in a world that was steadily recovering and rebuilding.

The roughed out basic shape in the photo to the left was intended as a test to evaluate its size on the rail.

Mold setup and first silicone rubber section applied.

Mother mold on first section and setup for rubber on the second section.

First coat of rubber on second and third sections of the mold.

Four-part mold complete and original clay sculpture cleaned and preserved for reference.

While I was working at Laran Bronze, Inc. in Chester, PA, my associate John Stephenson agreed to cast the wax patterns and create the ceramic shells for the first five bronze castings of “Fantella Fantastic”.

The wax casting process is one of my favorite steps in the production of bronze sculpture. I think it’s because they remind me of chocolate bunnies during the Easter season.

The red wax manifold system and the wax cup underneath provide a way for the bronze to pour into the ceramic shell and fill the casting completely while also venting the shell so the air can escape.

The waxes are then dipped and coated with multiple layers of ceramic slurry and aggregate.

Steel mesh is added just before the final dipping and once the shells dry they are ready for the de-wax (lost wax) step of the process.

The first three “Fantella Fantastic” shells are arranged in the dewax furnace. The larger cylindrical shells are leg sections (pant legs) for a life size monument. Once the burners are lit, the chamber is lowered to encase the shells for the dewaxing process.

With four propane burner heads heating the shells from all sides, the temperature rises quickly inside the chamber. The goal is to heat the shells so fast that the wax melts out of the shells before it can expand and crack the shells. Ideally, the temperature should rise to 1,600 degrees Fahrenheit within five minutes.

The shells are preheated again as the bronze ingots are being smelted. As soon as the bronze is heated to 2,150 F and glowing bright orange, we pack sand around the preheated shells and pour the bronze into the void where the wax once was. Next comes the meticulous job of removing the ceramic shell, inside and out.

When most of the shell is removed from the casting the gates are cut off and castings are sandblasted to remove any remaining residue. The pouring manifold is then cut away from the sculpture itself. Now the welding, grinding and metal finishing can begin.

In the bronze industry, the metal work is called “chasing”. There are usually many issues with the metal surface that were caused by the volatile nature of the bronze pour. Drastic temperature fluctuations and a number of other variables can affect the quality of the castings.

I was working on a few other personal projects simultaneously, such as the “Ollies Pond” relief in the foreground and “Monkey Runs Amok” just behind it.

I decided to apply a silver nitrate patina on ‘Fantella’ in honor of her African pachyderm heritage. The silver nitrate patina is relatively expensive compared to other patinas, but I think the results were ‘Fantastic’.

At home on the rail, ‘Fantella’ looks happy and healthy!

A beautiful addition to any household decor.

A special feature of this limited-edition bronze – I invite each patron to choose their own color for the ball. This is Goldie Fantella Fantastic.

Signed limited edition castings of “Fantella Fantastic” are now available for purchase, with an expected advance of just 2 to 3 months on each order. Priced at $3,250.00, a 50% deposit is required to initiate the casting process and secure your masterpiece.

“Courtship Dance“

Limited Edition Bronze Sculpture – Edition of 21

“Courtship Dance” a.k.a. “Fountain of Love” is a small-scale conceptual model (14″) for a 6′-8′ fountain to be placed in an atrium or outdoor courtyard. The proposed fountain would feature a low-pressure style decorative water flow, filtering in the basin at the bottom and cycling up to the translucent globe on top and cascading back down over a pebbled surface on the interior of the spiraling downspout.

In the case of this first casting of “Courtship Dance” (artist proof), it transformed into a jewelry tree.

This tabletop sculpture is available at $7,500.00 and would require 3-months lead time to produce. Deposit of 50% is required to get the bronze process started. #1 of 21 is available!

Moore Commercial Sculpture Castings and Fabrications

Architectural Fabrications

In 2009, at S.M.art Castings & Sculpture Services, LLC, I undertook the design, fabrication, and installation of three interior design elements for a private residence on Siesta Key. The first project involved crafting a ceiling design for the master bedroom suite, measuring 18′ x 24′. The client presented a photograph of a ceiling relief from the Medici Castle in Florence, Italy, and inquired if I could replicate this intricate design on her bedroom ceiling. It is possible that the geometric design is one of Leonardo da Vinci’s originals.

Cast Gypsum Ceiling Relief

I subcontracted Rail Tek, of Sarasota, FL to draft this CAD design to fit the ceiling dimensions.

The client requested a second design. She thought the first design might be a little too masculine. She told me she loved butterflies, so I drafted this cherry blossom and butterfly design. Although she really loved this design, she decided to stick with the original plan.

It was fortunate that I didn’t have any other projects in the studio at that time because the fortified gypsum castings completely filled the two worktables I’d recently constructed.

I put together a sample panel and brought it to the site so the client could see the design in place before I committed to casting all those parts. As soon as I had enough castings complete, I laid out this grouping on the studio floor.

I wasn’t allowed to photograph the ceiling installed at the residence (privacy concerns), but the central image here is a large-scale sample panel that I put together for the studio. I used an antiqued glazing technique to add the appearance of historic authenticity.

Decorative Balcony Supports

The second project at the residence was to design and install 2 decorative balcony supports facing each other across the Grand Sitting Room.

Once the design was approved, I carved the basic shapes out of medium density Styrofoam.

I used drywall mud for the final smoothed surface. I created a jig to make sure the piece maintained the correct attitude along the top edge.

Prepping the fan section for mold making.

I used a spray gun to apply the rubber jacket in two sections.

Before I had started the molding process on the fan section, I tested the lower finial for size comparison. Then I began sculpting the decorative details with clean Kleen Klay.

With the finial sculpted, I began the mold process on that section simultaneously with the fan shape.

Having the first fan cast in fiberglass, I welded and installed a mounting bracket that would connect the two sections and secure the balcony support to the wall. I made a second mounting bracket at the same time for efficient use of time.

First casting sanded and ready for primer.

Primed and installed. There is an identical balcony support installed on the opposite wall across the Grand Sitting Room.

Dual Family Crests – Relief

The third and final project for the residence was to create a relief sculpture of dual family crests to be installed above the mantle of the main fireplace. The client provided me with drawing of hers’ and her husband’s family crests and I brought them together (and to life?) three-dimensionally.

Oil clay sculpture on the left and fortified gypsum casting on the right.

Before I made the mold, I brought the clay model of the crests to the site to be sure that it would fit properly.

Dual crests installed. The glazing and gilding on the balcony support was applied by a seasoned professional. The same artisan would also apply gilding and glazing to the crests at a later date.

Center of Light Commission

This lighted starburst fabrication was an early commission at S.M.art. Based on the design I proposed, with limited alterations, I won the contract to fabricate this 12′ aluminum starburst and install it on the wall above the altar at The Center of Light, a metaphysical church in Sarasota.

Original concept drawing and installed “Starburst”.

The bulk of the work for this fabrication was in the cutting and prepping of the aluminum parts prior to the powder coating and assembly phases of the project.

I decided to assemble the “Starburst” in place, thus minimizing the risk of damage to the powder coated parts. Of course, the only other option was to assemble it on the floor and lift it into place, as its dimensions precluded shop assembly and delivery pre-fabricated.

I lined the entire light housing with mirror finished mild steel sheet metal to ensure maximum outward light reflection.

Center of Light “Starburst” fabrication installed.

Children’s Playground Game

Moore Art Expressions was contracted to design and produce a custom playground game for Outdoor Board Games, LLC, of Tampa, FL. This project was technically challenging, but it was also quite rewarding to bring the prototype into reality.

Game Tiles

An intermediate mold was necessary to cast out frames for each animal design, this way I could sculpt each of the designs in the basic frame for the production molds.

I’ve always enjoyed creative problem solving and this project called for plenty of that!

The Start Finish tile (circular game board) required a unique graphic at the top of the tile, so it was necessary to make two intermediate molds for the header as well. Frame mold and header mold.

Of the seven unique designs on the game board this tree tile was considered a neutral square to land on. I recall that 13 of the 23 tiles for each game were castings of this design.

Each tile was cast in Forton (fortified gypsum product) and the colors were painted into the mold as mason stains blended into the Forton mix. Heavy fiberglass mat was used to strengthen each of the tiles. The tile on the left was the first one we cast. I chose the color scheme just to give the client a starting point.

As soon as the tree relief was molded, our team began production of the first game.

Each special tile (other than trees) had its own + or – number which would move the child forward or backward on the game board. This required the production of seven additional intermediate molds.

By the time I began sculpting the cat relief, I was really starting to enjoy the design process.

The game was intended for children, so I intentionally added in some proportional inconsistencies and anthropomorphism to the animal characters.

I chose to “draw” each design freehand on the surface of the oil clay. Using this method, I was able to maximize the character’s presence, while also leaving room to play with the negative space.

I was most satisfied with the work on the Start Finish tile, not only because it was one-of-a-kind in the set, but also because I managed to achieve the greatest depth of space considering the low relief format.

Spinner Post

Each game board called for two spinner posts located at the halfway points of the sidewalk circle. As simple as these posts may appear, they were the most technically challenging aspect of the project. For this reason, I’ll refrain from providing detailed explanations on each of the photographic storyboard frames below. Beyond the evident design and fabrication details shown in the photos, I will add that the most difficult issue I had to contend with was the calibration of the numbered spinner element within the post itself. The spinner needed to rotate smoothly enough to be solely reliant on the force of the spin so the children couldn’t cheat but also slow quickly enough so they wouldn’t get bored and stop it with their hand preemptively. I also needed to be conscious about potential pinch-points so a child’s small fingers wouldn’t be injured during the game.

Outdoor Board Game Installed

Architectural Elements

Custom “Ticket Window” Design

An eccentric client who was building a very unique home in Venice, FL, came to Moore Art Expressions asking for help finishing his “Ticket Window”. His home featured quite an interesting mix of contemporary and classical design elements, and he was clear about his ideas. This window was already installed but he wanted to add design elements to frame it with an old-timey movie house (art-deco) appeal. I always enjoy it when a client can describe what it is that they’re looking for so I can quickly zero in on a design that they’ll likely approve. I’ll let the photos tell the story on this project just as I did on the spinner post pictured above.

Superheroes on Parade

Southeastern Guide Dogs (now Dogs Inc.), commissioned Moore Art Expressions to create a life size Yellow Labrador with a cape for multiple fund-raising campaigns over the course of three years. The following photographs represent a limited overview of the Superhero project and some of the ancillary creative projects associated with it.

The Proposal Maquette

Life Size Superhero Clay Original

Mold Making Process

Casting Process

Limited Edition of 121 castings

Two Scott Joseph Moore Custom Paint Designs

Triumph – Darkness to Light

“Buyer” – Painted for Patron of SGD

Superhero – Puppy Edition

Original Sculpture

Forton Castings

Limited Edition of 55 castings

Scott Joseph Moore Custom Paint Design

Awards and Accessories

Alterations and Fabrication for Specific Design

These modifications to the original design were made for Lera Auerbach, a renowned Austrian – American classical composer, conductor and concert pianist.

Lera Auerbach executed the finished paint work on the altered Superhero, and it was premiered at a special unveiling at the Sarasota Opera House.

Custom Low-Riding (wheeled) Pedestal

Pedestal base fabricated with 3/4″ cabinet paneling and solid wood trim for patron of SGD. The base was designed and fabricated for a design sponsored by The Circus Arts Conservatory in Sarasota.

Moore Art Expressions cast a total of 121 life size Superheroes for 3 consecutive yearly fundraising campaigns to benefit Southeastern Guide Dogs in Palmetto, Florida. The sculptures were sponsored by local businesses from Tampa to Naples and each sculpture was assigned to a local artist who teamed up with the business, and they created the final product together. I would like to be able to credit each artist for their work but in all honesty, I would need to go back through our records to put names to each project. Here are a few of my favorites!

Large Scale Mold and Casting Project

A long-term friend and business associate, Jon Dowd, hired me to create a mold and castings of an 8′ tall art deco “Seahorse.” This concrete piece was displayed for many years at the Quay shopping center in Sarasota and is believed to be from the 1950s, but we couldn’t find the original artist’s name and it wasn’t signed. The Quay was demolished in 2007, and a wealthy art enthusiast salvaged two seahorses. In 2017, Jon asked me to create the mold system, and together we installed the first two castings at a bayside home in Sarasota.

A workbench in a studio featuring a large foam sculpture of a seahorse, partially surrounded by white polystyrene blocks for support. — The first challenge I had to overcome was related to the size and weight of the piece. I needed to construct a custom platform (cradle) on which I could construct the mold. The cradle needed to be built strong enough to handle the weight of the sculpture and also the added weight of all the mold materials. The second challenge was dealing with the eroded surface of the seahorse which had been pitted severely by Florida weather. Note: To build up the perimeter of the piece to accommodate the halfway seamline, I used block Styrofoam.

I decided to coat the whole exterior surface of the piece with water clay (stoneware). I subcontracted Shawn Houser to help me with this task and together we came up with a new texture for the seahorse’s outer skin. This proved to be a challenge as well, because the bumpy surface often dictated the quality of the tool strokes.

Once half of the surface was rejuvenated, I began the process of building up the seamline using terracotta clay. Before “pushing” the terracotta up to the stoneware I coated the newly textured surface with Crystal Clear. This acted as release between the two different clays, while also slowing the drying of the stoneware.

The first section of rubber was applied in three coats over the course of a day (about 8 hours).

The silicone rubber is quite durable and flexible, still it is not advisable to cover too much area with each rubber section. If the sections are too cumbersome and heavy, you’ll run the risk of the rubber tearing under its own weight. The steel “handles” I attached to the high-strength gypsum mother mold sections are added to aid in the demolding process. The reason this mold has two mother mold sections covering only one rubber section is to allow for the removal of the parts. In the art of mold making, the maker must always be conscious about the direction of pull to remove the mother mold sections, otherwise the pieces might get “locked” on the sculpture’s shape and prove impossible to pull off of the rubber.

For the tail, I decided to apply the rubber in two sections and then use the same seamline for the mother mold sections. Molding the tail was tricky because there was a through hole at the center of the spiral where the rubber on this side would need to meet up with the rubber on the other. This required me to add a piece of soft foam into the silicone to make it more flexible and aid in the demolding process.

When I was finished with the first half, I had to rally some friends from the other businesses in the industrial park to help me tip it upright. Then, as you can see, I needed to “clay-in” and texturize the other side of the seahorse to match the first side. I estimated the weight of this mold to be over 600 lbs. already.

There is a certain satisfaction that comes to me every time I get to the halfway point in a mold project. With the size of this mold, I must admit that this midpoint victory was especially satisfying.

The complexity of the contours and the overall shape of the tail section made the rubber application particularly challenging. Sometimes, on smaller molds, I can alter the position of the mold to make things easier, but in this case, I needed to work with the situation at hand.

Application of the rubber is, in my estimation, the most difficult task of the mold making process. This pink rubber is Mold Max 30, a silicone molding rubber made by Smooth-On. It’s quite expensive, so I learned early on to be as prepared as possible before I started mixing to minimize waste.

After the final section of rubber had cured and I added the last two sections of mother mold, it was time to call on the strong men in the neighborhood to help me flip it on its back for demolding. At this point I estimated the mold to weigh somewhere in the range of 1,000 lbs.

I’ve always enjoyed the process of stripping the sections of gypsum and rubber off of the original sculpture when the molding process was complete. It feels like unwrapping a gift in some ways. This is when you find out if your mold system was well thought out and effective. An effective mold will hold up well, even after years of storage and a large number of castings. I predict this mold will be effective for at least 75 castings and 10 years of shelf life (if stored properly).

With the mold complete and the first casting in hand it was time to deliver the original (concrete) and the Forton casting to Jon Dowds place. He had ordered two, but I was ready to free up some studio space and Jon was ready to start coating the first edition with quality exterior acrylic paint.

The Forton castings, reinforced with fiberglass mat and fitted with pressure treated 2″ x 10″ mounting plates, were durable and moisture impenetrable. The best feature – they weighed four times less than the original concrete casting (on the rolling table behind the truck).

It took four of us to muscle these castings into place and attach them to the columns on either side of the staircase. I never got the chance to see them in place once the scaffolding was taken down, but Jon tells me they still look great.

Another blue-sky sunny day in Sarasota, FL!

Scott Joseph Moore – Original Bronze Sculptures

“Return to Hope“

Unique Bronze Sculpture – One of a Kind

On the ever-growing list of art projects that I’ve completed thus far, “Return to Hope” is second only to “Providentia” with regards to its sophistication and aesthetic appeal. Some of you may be wondering how I can make such an assessment considering the fact that I created this sculpture and indeed the whole collection. How could I possibly make an objective and unbiased comparison between individual works of art that I myself have brought into reality? Having contemplated this question over the years, I’ve come to the realization that I tend to distance myself (intentionally) from each work that I create, shortly after I’ve completed it. The reason that I’ve evolved this strategy is not very complicated. I distance myself from finished creations so as to avoid the trap of never being fully satisfied and therefore never officially finishing an art piece outright. With all of those thoughts expressed, I will now proclaim that “Return to Hope” (the bronze sculpture) truly resides in an artistic league of its own. Starting out as a hand-built terracotta sculpture, it was originally intended to be an homage to the Hope Mill. The Hope Mill, in Hope, Rhode Island, was established just a few years after the industrial revolution arrived in New England. The mill played a significant role in my young life as a continual source of inspiration for my creativity. While playing on the mill property my imagination was untethered, allowing me to come up with fantastic stories to tell my childhood friends, and to conjure and produce original drawings that were as much a surprise to me as they were to family and friends. Even though the mill was already degrading noticeably back then, I always managed to see it through the fresh eyes of a child, and this made it new and alive from my naive perspective. Even the history of the Hope Mill and the antiquated buildings all over the mill property were fascinating to me as a child. The mill inspired a passion for adventure and exploration that resides within me to this day.

Left: The original terracotta sculpture titled “Industrial Revolution/A Trip Downtown” was created in 1990. Right: The bronze casting (poured in 2008) had the same name as the terracotta version, and this was the first patina I applied on the piece. In 2021 I did a new patina on the casting and changed its name to “Return to Hope” as a rededication gesture to honor the Hope Mill and the New England town I grew up in.

Physical Properties of Return to Hope

Return to Hope – This exceptional bronze casting, proudly mounted on a striking black walnut base, features an impressive smoke plume on top, crafted from white bronze—an alloy consisting of 55% copper, 30% tin, and 15% zinc. The body is beautifully cast in silicon bronze, an alloy made up of 96% copper, 3% silicon, and 1% manganese. I am determined to find the perfect home for this sculpture, as it will always hold a cherished place in my heart!

Dimensions: 30″ H x 15″ W x 12″ D ~ Weight: 75 lbs.

Approximate time involved: 320 hours from concept to completion.

Price: $17,500.00

Visit the Grand Providentia Projection – YouTube channel and explore the collection of short films I’ve released there – https://www.youtube.com/@scottmoore4601. Among them, you’ll find the impactful short film titled “Return to Hope,” which critically examines the Hope Mill property and reveals the alarming degradation it has suffered, transforming into a societal and environmental disaster site. Be sure to subscribe everywhere to stay updated with all the groundbreaking happenings and enchanting chaos! 🙂

“Monkey Runs Amok“

Unique bronze sculpture on black marble base – Only one of its kind!

This piece was inspired by my education and practice of the art of animation. It is also a self-portrait of sorts. It was a conceived as a metaphoric commentary on my work ethics vs my ‘play ethics’, which seemed to be in constant competition for my attention at any given moment. I am convinced that I have found a healthy balance these days!

Physical Properties of “Monkey Runs Amok”

Monkey Runs Amok – Unique bronze casting mounted on a black marble base. With this sculpture, I deliberately infused as much dynamism into the design as possible. The challenge with static sculptural art is its inherent lack of movement, unless you incorporate dynamic qualities in the design or mechanical elements to facilitate motion. This piece presented complexities during the bronze casting process—featuring numerous parts of varying thicknesses, both hollow and solid, which made welding and chasing an extensive endeavor. Nevertheless, the results undeniably showcase the effort invested!

Dimensions: 28″ H x 17″ W x 9″ D ~ Weight: 99 lbs.

Approximate time involved: 280 hours from concept to completion.

Price: $15,500.00

~ “Fortuna” Belongs in Your Home ~

Fortuna is one-of-a-kind. The mold degraded in the Florida heat, and I had to let it go. Because it is unique in the world, it would be a wise investment for any art appreciator, but the real value in it will be the positive energy it brings to your household.

The story of Fortuna is as colorful and animated as the living koi fish she was patinaed to resemble. When I sculpted the original in clay, I had an entirely different vision and concept for the finished piece than what it has turned out to be. I’m so pleased to have let this one evolve into what she has become. Fortuna has metamorphosized from a sculpture that was intended as cynical commentary on the superficial pursuits of man into a beacon of good fortune and a recognition of the astonishing beauty of nature on our planet. Originally, this surrealistic representation of the fish as a metaphor for greed and selfish motivations was titled “Suckerfish Ball”. I’d had a vision of a fish standing on its head and writhing like a flickering candle flame. That was the vision out of which the ball and fish form evolved. The addition of dollar signs and stars and the stripe around the ball were intended to represent money, fame and play respectively, but these additions were all envisioned through the distorted lens of my cynical outlook at the time. I’m so grateful that my outlook has changed dramatically since then!

“Suckerfish Ball” is the only other sculpture on the planet that is nearly identical to “Fortuna”. They’re pulled from the same mold, so that’s to be expected. “Suckerfish Ball” was purchased years ago and now resides in the collection of Phillip and Lynn Rogers. In my opinion “Fortuna” is the stronger piece of artwork. Not only is it warmer in color and concept, but it is also invested with positive energy and designed to bring good fortune to any home where it is being displayed. Now, those may sound like the words of a snake-oil salesman, and I could see why some folks might scoff at the notion of a good luck charm, but I can’t see where the issue is with a little bit of harmless superstition being peddled between friends!

Physical Properties of Fortuna

Fortuna – Bronze casting mounted on cream colored marble base (pentagonal). The patina on this bronze is one of its most striking features. The opaque and creamy tones of the koi fish contrast nicely with the details of bronze dollar signs and the band around the ball. This was a sophisticated patina to perform given the fact that a patina finish can’t be built up like a paint job. The color that adheres to the metal is still only a few microns thick. It’s similar to a smoked glass process where what you get to stick is what you get to keep.

Dimensions: 27.5″ H x 10″ W x 8″ D ~ Weight: 32 lbs.

Approximate time involved: 180 hours from concept to completion.

Price: $7,750.00

So… Here’s What’s Next!

I’m still searching for new ways to seize the day! As I remember it, the first time that I heard and understood the phrase “seize the day” was while I was watching the movie Dead Poets Society and listening to Robin Williams’ character give an inspiring speech to his students on their first day of class. I’ve kept this age-old sentiment in the forefront of my conscious pursuit of creativity as a way of life. Carpe diem has guided my spirit through difficult times and times of prosperity, but not until 2009 did I create a work of art that was expressively centered on the idea of seizing the day. The original sculpture pictured below is titled “Carp A Diem”. In the early days of S.M.art Castings, I made this sculpture with the intention of casting it in bronze as a central piece for a public fountain. I was never able to raise the funding needed to complete the project and I eventually needed to let it go and move on. On this creative journey I’m taking, I practice the conscious choice of seizing every new moment as it comes. This makes it easier to adapt to the constantly changing circumstances of a progressive lifestyle. It is highly likely that I will revisit this project and see it through to fruition, but I’m also okay with allowing it to remain in memory as a past moment of creative inspiration.

As many of you probably recognized, Carp A Diem is an enlargement of “Suckerfish Ball” the second casting of “Suckerfish Ball” eventually transformed into “Fortuna”.

Another quality of character that I’ve long aspired to is flexibility. To keep the art that I’m making both relevant and authentic, I’ve learned that flexibility must remain high on the list of objectives when it comes to shaping the future that I envision. There is an adage that I’ve heard many times during my visual art studies. It offers practical instruction on the art of letting go of an art project when holding on seems to be impeding your overall creative progress. Most often it is expressed as “Be ready to kill your babies!”. Even though the verbiage may be a little too aggressive for my preferences, the basic idea rings as true as a church bell in my experience. The following two projects fell into the category of babies that needed to be laid to rest.

Creativity in the Age of Digital Technology

This original clay miniature was created as a proposal for Ringling College of Art and Design’s 75th Anniversary commemorative sculpture competition. It was proposed as a life-sized bronze statue to be installed on the college campus. It wasn’t selected for that competition, but I would love to explore the concept further someday.

The sculpture explores the digital age of creative expression and how it relates to the traditional practices of fine art such as painting and sculpture.

Angel of Creation

In the case of “Angel of Creation”, I have the piece stored away as it is shown here. I hope to resurrect the project. The final sculpture would be cast in bronze and include an electric light “supernova” in her left hand, while her right arm/hand would be mechanized, cranking gears and pulleys to imply that she’s actively creating the energy to fuel the exploding star she’s holding on high.

Envisioning Our Creative Future ~ Together

On November 27, 2024, during my second year of studies at Savannah College of Art and Design, I met the woman I intend to partner with for the rest of this lifetime. The fact that she lives in Croatia, almost 5,000 miles from my home in Savannah, GA, hasn’t deterred us from creating a bond that we are confident can only grow stronger as time passes. For me, Daniela Tomljanović is a source of inspiration, unconditional love and acceptance, and we regularly encourage and reaffirm each other as we plan our future together. For any readers who are familiar with the artist Christo and his beloved Jeanne-Claude, I often make comparisons between their partnership and ours. Of course, our shared authenticity and commitment to living lives uniquely buffered from the stresses of contemporary society preclude me from commenting on our personal relationship, so I will only share our ideas about the future of my creative career and how Dani will be a loyal and active supporter in all my artistic endeavors from here on out.

Detailing the Here and Now

Throughout this lifetime, I have often been viewed as a hopeless dreamer; some perceive me as someone with unrealistic expectations of the future. Yet, time and again, I defy their limiting beliefs regarding my creative potential, proving the skeptics wrong. While my art may seem otherworldly and surrealistic, I stand firmly grounded, fully aware of my strengths and weaknesses, and comfortable with both. If I were to encapsulate my life in the arts in three words, they would be curiosity, industriousness, and dynamism. These words may evolve over time, but my passion for creative expression remains steadfast. I am actively pursuing opportunities in the themed entertainment and film production industries, feeling fully prepared—physically, intellectually, and spiritually—to move in this creative direction for the next 10 to 20 years. I have applied to several positions with Universal Studios, and I am confident that the universe will align with my intentions in due time. Both Dani and I are realists though, so we’ve been developing Plans B and C and taking action on those backup plans as well.

I’m currently seeking freelance work in the Savannah area (preferably creative), this would enable Daniela and me to embark on our exciting journey together here in the beautiful city that has captured my heart over the past 3 years. We are eager to launch a vibrant commercial art business, drawing inspiration from the assortment of services that were offered at Moore Art Expressions, while also introducing an independent film studio dedicated to producing impactful documentaries and captivating arthouse films. We’ve decided to name the business “Soulfire Creative”.

I designed and composited this company logo in Photoshop, using only original Scott Joseph Moore artwork.

Our aspirations are boundless; we also envision establishing facilities for custom film set and prop design fabrication. We are confident that Savannah is the perfect place to cultivate this dream, yet we remain open and enthusiastic about wherever the winds of opportunity may guide us.

Expecting the Extraordinary

~A True Story, as Yet Unfolding…~

My life as a visual artist has always unfolded naturally, as if my finite creative energy is surrounded by an infinite quantity of synchronistic energy from the Source of Creation. Last month, on Saturday 10/25/2025, I displayed four of my bronze sculptures at an art show on Skidaway Island. It was an intimate event sponsored by The Landings Art Association and the Village Library. The Skidaway Village Green turned out to be the perfect location to showcase “Providentia” and the other bronze sculptures I put on display. My beautiful Dani kept me company while I wasn’t busy conversing with my island neighbors about the art. I’m currently waiting for positive news from potential employers, and I feel that something amazing is about to happen. My wife to be and I are counting on abundance so abundance we shall have!