Meet the Artists: Christine Adele Moore

This is the first story in Meet the Artists, a series in which we introduce the people behind the work on our walls in Park City and Sun Valley: how they work, what moves them, and how they got here.

“I’ve never not been an artist. It has always been like the color of my eyes or the curl of my hair. It just was.”

Christine Adele Moore

Stand close to a painting by Christine Adele Moore and it keeps changing. A wash of blue gives way to a ridge of raised texture; a glint of gold surfaces from somewhere beneath the color, then disappears as you shift your weight. She is a mixed media artist based in Bonita Springs, Florida. What that simple description leaves out is a lifetime spent learning how paint, resin, metal leaf and texture can be made to hold light, and a conviction that a painting should leave the person in front of it happier than before.

Meet Christine

Where it began

Christine was born in 1971 in northern New Jersey. Her father worked for the PSE&G power company; her mother was a homemaker, an artist and an amateur astrologer who raised Christine and her sister, April, to have open, free-thinking minds. In that house, drawing, painting and inventing were part of daily life.

“Creating art is how I learned to connect with other people from a very young age,” she recalls. “I saw, and more importantly, felt the impact that a piece of art, created with love, can make on another human being. It became part of the fabric of who I am.”

She got serious in high school, when a friend of her father asked her to paint his portrait. “The piece turned out better than I hoped,” she has said. Rather than settle into one kind of art, she designed t-shirts and painted murals. She went on to study fine art at the University of Delaware, spent a semester at the Maryland Institute College of Art, and transferred to New College in Sarasota, Florida.

Then, just before her final semester, a mural commission in Naples, Florida came along with a budget of $8,000, “enormous money for me at the time.” She took a sabbatical from school to paint it. One project led to another, and then another, and she found herself booked months in advance. She never went back to finish her BFA. She has made a full-time living as an artist since she was 22.

Twenty-six years on the scaffold

For the next 26 years, Christine worked as a freelance artist for interior designers, developing and executing large-scale projects for luxury homes in Florida and across the country. She was a muralist and wall finisher, often painting from 30-foot-high scaffolding and producing very specific, realistic work to match each client’s taste. The jobs asked for everything: “whether it was a trompe l’oeil mural, a complex multi-layered wall treatment, or transforming a room into a cave. It was stressful, yes, but also exhilarating, and it gave me a wide range of tools and techniques that continue to inform my work today.”

It was also work on someone else’s clock. “I was constantly challenged to ‘hurry up and do something beautiful,’” she remembers. Those years taught her to listen closely, to work within a palette and a room, and to combine unusual materials in unusual ways. Today she calls the common thread of her career “resourcefulness.”

2019: taking her own work on the road

In 2019 Christine began exhibiting her own work full-time at fine art shows and festivals around the country. She travels in her van, and the energy of the booth is part of the point: “I am hooked on the energy I get from speaking to people who resonate with my work. It is such an uplifting, joyful experience.”

Life on the road comes with its own studio routines. Christine travels more than two months of the year, and after a few days without painting, she says, “my hands start to ‘itch’ and get restless to create.” So hotel rooms become makeshift studios. She brings canvases that are already started, because the early resin stages are too messy for a hotel, works only in water-based paints on the road, and packs extension cords and work lights. She never travels without a sketchbook (“I never travel without one!”), and during quiet moments at a fair she will let her pencil wander through “a stream of subconscious faces, creatures, and layered forms.”

The road has brought recognition, too. In 2022 the Sarasota Open Air Fine Art Show chose her turtle painting as the show’s featured artwork. In the fall of 2024 she was the second Artist-in-Residence at the Center for the Arts Evergreen in Colorado, a stretch of time she described as “a sabbatical from my life and routine.” For readers in our mountain towns, one line from that residency stands out: “Throughout my life, when I have vacationed or worked in Colorado, I always felt I left part of my soul here.”

In 2025 she showed at the Hamptons Fine Art Fair in Southampton, New York, in a collaborative exhibition with fellow artist Yoram Gal: the two framed a central piece by a third collaborator, Itamar Yehiel, with their own self-portraits. Her portraits explored life as a traveling artist far from “my family, my partner, my dogs.”

How she works: layers, light and texture

In her artist statement, Christine describes what she is after in her own words:

“I work in acrylic on canvas. I love texture. Layers. Depth. I love embedding shiny leaves of gold, silver and copper under the multilayers of semi-transparent mediums, melting dreamy liquid paint into thick, mountainous peaks.”

Christine Adele Moore, artist statement

Each painting is built from at least three and as many as twelve layers: separate layers of texture, water-based media, and materials such as metal leaf, separated by clear acrylic resin. In earlier interviews she has described the resin stage in detail. She mixes two-part acrylic resin in batches and pours it onto the canvas, then moves it with gloved hands and trowels, working in materials such as ink, mica powders, aluminum, glitter and silver leaf. “It stops being workable within 20 to 40 minutes. That’s why I work in batches,” she explained. Each layer cures for a day before the next.

The process is part control and part surrender. “The exciting thing about resin is it’s an organic process. I can only guide it so much. I can’t control it fully,” she said, “so it’s a collaboration between me and the material.” Once she has an abstract she is happy with, she may keep it abstract, or meditate on it until she begins to see images, and then she pulls those images out with paint. Reflective materials such as copper leaf, gold leaf, broken mirror flake and aluminum flake end up embedded in the layers, so the painting changes as the light moves across it. Acrylic modeling paste adds a sculptural, three-dimensional surface.

She sums up the constants of her work this way: “Three of the consistencies of my work are layering, reflective media, and texture. The layers offer complexity and mystery; the reflective media infuses a kinetic element to the work, which is exciting and adds life; and the texture breaks the visual surface tension. Your eyes see the texture and wonder if it’s really there or if it’s an illusion, and you are immediately pulled into the work.”

Underneath the technique is a state of mind. Her paintings, she writes, evolve “from emotion that wells up from within a sense of gratitude found through meditation.” She describes painting from “a zone, a sort of half conscious, half floating space,” and listens to audiobooks while she works: “It lets my hands work intuitively while my conscious mind absorbs the words.”

In the studio

Christine films her process and shares it on her YouTube channel. In the first episode of her series In the Studio, she talks to the camera from her studio, a large blue-and-gold canvas behind her. In Red Poppies she sketches and textures a new mixed media painting on canvas, starting from a blank surface and building up the first layers of texture by hand, and a second part continues the process.

What inspires her

Christine doesn’t like to be hemmed in by a single subject, and her work moves between sea life, trees, flowers, birds and animals, and pure abstraction. Sea turtles, octopuses, jellyfish and seahorses swim through many of her paintings. For a recent painting of birds she worked from her own photographs taken at the Ding Darling preserve on Sanibel. “I try to put soul into every living creature that I paint,” she says.

Gratitude is a recurring source. When the pandemic canceled art festivals in 2020, she turned to her easel for comfort. “I was feeling so much anxiety, tension. I needed something to paint to calm me down and to uplift me,” she said. “So I just started thinking about what I was grateful for and I started painting very simple blue flowers. I was just trying to make myself feel better.” That became her Breathe Series. Some of her images arrive on their own: in Dancing Under My Favorite Tree, a small dancing figure appeared without any plan, and gave the painting its name.

Her larger ambition is simple to state: “My mission is to bring joy and light, love and happiness out there as much as possible.” Or, as she once put it more briefly: “Everything in life is layered. Nothing is just black and white.”

What’s next: painting that leaves the canvas

Lately Christine has been pushing her surfaces off the canvas altogether. Over the past year she has been developing sculptures and sculptural paintings, which she plans to debut as a series in 2027, made with “acrylic-based modeling compounds, epoxy materials, and layered textures that require no firing.” What excites her most is “freedom from the confines of the canvas.”

One more story connects her studio to our gallery. For Naples collectors who first bought one of her sea turtle paintings and then commissioned five more, she painted an octopus 84 inches tall by 80 inches wide for their foyer, “based on my previous painting Lyrical Blue.” The original Lyrical Blue is available through GAIA.

Christine Adele Moore’s work at GAIA

These original paintings by Christine are available through GAIA. Each is acrylic and mixed media on canvas. Seen in person, the layers, metal leaf and texture do things a screen can’t show.

Christine also creates custom work through GAIA. If you’d love a one-of-a-kind piece made for your space, your colors and your story, contact us at either of our galleries, and we’ll make it happen.

See all of Christine Adele Moore’s work →

Sources

• Christine Adele Arts, “About Christine” (artist statement and biography)
• Christine Adele Arts, home page
• Christine Adele Arts, “New Series: Sculptural Paintings” (February 6, 2026)
• Christine Adele Arts, “Five Commissions Delivered to Naples Collectors” (November 12, 2025)
• Christine Adele Arts, “Traveling Artist Self-Portrait Series” (October 10, 2025)
• Christine Adele Arts, “Sketchbook Musings from Southampton” (July 2025)
• Christine Adele Arts, “Checking Into a Hotel and Makeshift Studio” (July 2021)
• Christine Adele Arts, “Selected as Featured Artist for Sarasota Open Air Fine Art Show” (February 7, 2022)
• CanvasRebel, “Meet Christine Adele Moore” (October 14, 2025)
• Colorado Serenity, Margo Hamilton, “Christine Adele Moore” (November 15, 2024)
• Spotlight News Magazine, Kathy O’Flinn, “Moore paints in layers of acrylic resin” (March 16, 2020)
• Spotlight News Magazine, “Christine Adele Moore’s mission is to bring joy” (June 29, 2022)
• YouTube, Christine Adele Moore channel