Artist Kristin Moore’s first solo exhibition at Austin’s Dimmitt Contemporary pays homage to the wistful landscapes of two of Texas’ largest cities. A Houston native, Moore found early inspiration in the city’s art museums, recalling that “art came easy to me.” At 18, she moved to Austin to attend St. Edward’s University, initially considering a history major before fully committing to art. The program encouraged her to explore various mediums, participate in the East Austin Studio Tour, and immerse herself in the local gallery scene.
Kristin Moore, “Wildflower Whataburger,” 2025, acrylic on canvas, 48 x 72 inches
After graduating, Moore moved to Los Angeles to pursue a graduate degree but frequently returned to Austin, either by plane or on long road trips during breaks. “I saw the world through an airplane window or through my trusty 4Runner, which I still have today,” she says. As the landscapes shifted from the “edginess” of Southern California to the “cleansing energy” of Marfa, always a stop on her trips, Moore found herself longing for the familiar sights of homes. “In LA, there wasn’t queso or kolaches, and I started to realize how much of our sense of place is tied to signage along the highways,” she says, recalling the nostalgia sparked by a Whataburger or Buc-ee’s sign in the distance.
During this time, Moore also researched Ed Ruscha extensively, particularly his early work with signage before he became a full-time artist. “His Route 66 series resonated with me and sparked the idea to create my own series focused on signage and landscapes, reflecting my two homes,” Moore says. Over the last seven or eight years, Moore’s works have evolved in both scale and color but maintain a precise and cinematic approach, with beautiful Texas scenes dotted with familiar landmarks.
Kristin Moore, “Texas Road Trip (Buc-ees),” 2024, acrylic on wood, 36 x 36 inches
This show was a chance for her to get back to her roots, and she knew that including spots like H-E-B — whose parking lots she watched many Texas sunsets from — Shipley’s Donuts, Enchanted Rock, and Top Notch Burgers would be important. “I wanted to connect to those specific points of interest, and I’m lucky that people seem to resonate with and connect with it. I have a personal connection, but my viewers and collectors can go on their own journeys,” she says.
Moore’s collection oscillates between reality and the idealized memory of a place as she draws inspiration from film, admiring how framing, palette, and atmosphere convey a particular narrative. She also uses photographs as blueprints for her paintings.
Kristin Moore, “Marfa Lights (Crescent Moon),” 2025, acrylic on wood, 42 x 42 inches
One of her favorite pieces in the show is Marfa Crescent Moon, which she says must be seen in person to fully appreciate its intrigue. “There’s a luminescence to it, like the Marfa lights that have been appearing since the 1800s. It’s the most meditative thing. What are they? It’s okay that we don’t know. I like that mystery,” she says.
Moore always begins with the sky, using acrylic paint for its fast-drying properties. “I have a mad scientist process,” she says. “I use water to layer, and each sky has four or five layers of color to create a hazy ombré effect. The landscape and final details always come last.”
Kristin Moore, “Austin Bats (Sunset),” 2024, acrylic on wood, 42 x 42 inches
For example, in her Austin Bats painting, the bats were the last element added, requiring careful attention. “Start to finish, a piece can take anywhere from eight to 12 weeks. For a big show, I’ll spend at least six months to a year working on pieces collectively. It’s a lot of work and energy.”
Home State is a relatable exhibition that serves as a reminder of the places Texans have grown up with, grown to love, and hope to keep as part of their collective memories for years to come.
Home State is on view at Dimmitt Contemporary Art through March 29.
