Alva Mooses
Fistfull of Dirt [detail]. 25x19in. Monoprint and pulverized igneous stones, 2014.

Alva Mooses

Alva Mooses

Alva Mooses (b. 1982, Chicago, IL.) is interested in the regulation of landscapes, people and objects within specific geographic contexts. From 2004-2009 Mooses co-founded various community art initiatives in Latin America. These projects created a platform for over forty New York City-based artists to make their work and teach art in low-income communities.

In 2005, Mooses received her Bachelors of Fine Arts from The Cooper Union for the Advancement of Science & Art, New York City, NY. In 2014, Mooses finished her Masters of Fine Arts from Yale University School of Art, Painting & Printmaking, New Heaven, CT. Alva Mooses lives and works in New York City.


The Davidoff Art Residency in Altos de Chavón was an enriching opportunity that has brought
new aspects of my practise to the surface.

Moving into the studio was great, they were in perfect condition for working. The light and moveable walls are brilliant. The mosquitos were uncomfortable but I learned to ignore them after a while; neem trees were suggested to help keep them away. I walked around to the different talleres in Altos. The shop keepers were very generous in letting me try out the various facilities. I ended up working in the silkscreen studio most of the time – Rafael Breton, Pascual and Leonel were extremely generous.

The ocean’s horizon; ​ The Worlds Smallest Puppet Show for No Audience at All​ in the street at night in Santo Domingo performed by a Puerto Rican performance group; seeing the incredible Gaga costumes in the batey for Semana Santa and getting to dance there–realizing that there can
be celebration in conditions of extreme economic poverty and social repression, and being reminded that there is far too much complacency that tolerates human exploitation.

Artist Statement

My work examines relationships between objects, people, and geographic terrain as a means to explore cultural understanding and political structures. Self-organized archives and material excavations allow me to investigate objects and places of personal and collective significance; the potential to hold and reassemble history–be it a photograph, concrete rubble, a stone or a work of art.  The visual vocabulary of my work shifts as well, oscillating between different levels of interpretation.

I use my art to explore the regulation of landscapes, people and objects within specific geographic contexts.