We caught up with the brilliant and insightful James William Moore a few weeks ago and have shared our conversation below.

Hi James William, thanks for joining us today. Are you happy as a creative professional? Do you sometimes wonder what it would be like to work for someone else?

Happier? Hmm, that’s an interesting question. I’d say the creative process is where I feel most alive, but that doesn’t always equate to happiness. Being an artist is a strange, sometimes isolating existence. It’s fulfilling, but it’s also a grind—there’s always this pressure to push boundaries, experiment, and justify your work. It’s not a switch you can just turn off at 5 PM. Art bleeds into every part of your day, whether you’re ready for it or not.

What even is a regular job?

I’ve been a CFO, managing finances, deadlines, and teams. From the outside, that might seem like a “regular” job, but it had its own complexities and pressures. Sure, there was structure, but the stakes were high, and the mental load was sometimes not worth the salary. Honestly, whether you’re working with numbers or art, there’s no such thing as regular work—just different ways of managing chaos.

While I don’t miss the office grind—spreadsheets, meetings, the endless juggling—I can’t deny that it’s been invaluable. The experience taught me how to manage pressure, structure plans, and think long-term, all of which are now feeding into my future plans for running a gallery space, J-Squared Atelier, in Palm Springs with my husband. All of the experiences from my previous roles in “regular jobs” give me the confidence to approach this new venture, knowing that creativity still needs a foundation of strategy to thrive.

What truly excites me is being able to teach art and art history at a local college and pass along my passion to others. There’s nothing more fulfilling than watching students discover their own creative voice and seeing how art can transform their perspective. Teaching gives me a chance to share the joy, curiosity, and even the challenges that come with making art—it’s about more than just technique. It’s storytelling, exploration, and connection, and being part of that journey is a privilege I don’t take lightly.

So do I dream of going back to an office gig – no.

James William, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I embrace the concepts of kitsch and camp to give a visual presentation of my attitude of skepticism that exposes the irony of today’s society. I present work that questions reality and mindsets as it confronts identity. I present work that erase the divisions between high culture and pop culture by appropriating pop icons, political figures, and children’s stories. My art (and I) are a reaction to the depersonalization of one’s identity in today’s society as I present an opportunity for my audience to fall down a rabbit hole in my artworks.

My works explore the mystery hidden in the eyes behind a mask, the space giving context for what appears to be a mundane routine, the symmetry and relationship between modern celebrations and traditional rituals, and the stories from our youth cast in a new world. I use my subject matter to evoke emotions, drawing my viewer into the artwork. By embracing both old and new technologies, I construct artwork into a storybook, combining fact and fantasy.

Some might tell you that art has no rules — I would be one of those people. For this reason, my art practice is one of experimentation; testing technological boundaries between different media and photography, and perceived boundaries that might limit my own exploration. I endeavor to always learn, always inquire, always create. As I break down misconceptions of “what is art” in my not-so-subtle critique of the art institution and its need for labels, I turn the antiquated ideas, once attached to photography, upside down.

I’m a lens-based artist known for my aesthetics that creates surreal and thought-provoking cinematic experiences through photography, video, projection mapping, and installations. Through my work, I appropriate politics, American pop culture, and everyday life creating a visual language that is both humorous and deeply meaningful. I have always been drawn to the power of visual storytelling, as seen in his series Tilting at Windmills, Get a Clue, Freak Show, and Portrait of a Teller’s Fortune.

One of my most notable series is titled Madame B’s Tarot Readings. Featuring self-portraits that have been digitally altered, I become an “other,” in keeping with inspiration I find in Cindy Sherman’s photography. Despite the whimsical presentation, the series touches on serious topics of identity and how society affects how we see ourselves. By incorporating humour and playfulness into this work, I create a safe space for all viewers to engage with these difficult subjects.

I completed myMaster of Fine Art, with a concentration in photography, at San Jose State University. In addition to teaching an introduction to photography course for two years at SJSU, I also led a workshop on Adobe Photoshop to assist with the City of San Jose’s Cultural History and Postcard Public Art Project. My work has been seen in group shows, with highlights including: Clang, Clang Clang went the Trolley appearing at Rayko Galleries’ SHOWCASE (2012, San Francisco), Spin Me ‘Round at Pacific Art League’s Carnevale(2010, Palo Alto), Alone with Dino at 1650 Gallery’s Dudes, Bros, & Gentlemen (2016, Los Angeles), Dances at Windmills at JJ&A PopUP Gallery’s Unconventional Urban Ballet (2014, Palm Springs) and selected images from Madame B’s Tarot Readings appearing at FotoNostrum (2023, Barcelona). My solo show highlights include: 40 at Paragon Restaurant (2006, San Jose), Carnevale & Kimonos at Read Brown Salon (2016, Palm Springs), Get a Clue at San Jose State University’s Black Gallery (2020), and Madame B’s Tarot Readings installation at Jo Farb Hernandez (2023, San Jose). His public art participation includes: Red Obifrom the Obon series in the Japantown Mural Project (2013, San Jose), Judgement from the Madame B’s Tarot Readings series in Expo Metro’s Billboard Art Project (2023, Barcelona), and a Madame B’s Tarot Reading in Expo Metro’s Billboard Art Project (2024, Amsterdam).

I am currently on faculty at Gavilan College, teaching photography and art history. I have been honorably mentioned in the 19th and 20th Pollux Awards, as well as being invited to participate in the Foto Biennale in 2025.

How about pivoting – can you share the story of a time you’ve had to pivot?

My journey has been anything but linear—starting as a model, moving into acting, then getting into banking before finding myself as a Controller of a Trust Firm before ending up as the CFO of a major company in the San Francisco Bay Area. Then I pursued an MFA and with my completion of that journey at San Jose State University. This gave me the ability to teach in higher education. Each step has been part of a larger process of self-discovery. While these career shifts may seem unrelated, they’ve all contributed to shaping who I am today. And, at last, I feel I’m aligning my passion for art with a meaningful purpose.

Teaching is an exciting new chapter. It’s not just about sharing technical skills or knowledge—it’s about encouraging people to find their voice, take creative risks, and see the world differently. There’s something incredibly rewarding about helping others discover how powerful art can be as both expression and exploration. This is where I hope to make that impact, using everything I’ve learned along the way to guide and inspire the next generation of artists.

At the same time, my husband and I are preparing to open J-Squared Atelier, a project close to our hearts. We founded the space with a vision to bring contemporary art to a wider audience and to create a place where people—artists, collectors, and curious minds alike—can come together to connect through art. We believe that art has the power to inspire, challenge, and transform perspectives. That belief drives everything we do, and we’re committed to bringing the most innovative contemporary works into our community, creating moments of dialogue, reflection, and joy.

Looking back on my path, I see how every experience—whether in front of a camera, in a boardroom, or now in the classroom—has added to this journey. It all led me here, to a place where I can combine my passion for creativity with the skills and insights I’ve picked up along the way. With J-Squared Atelier, I get to channel everything into building a space that celebrates the transformative nature of art, while continuing to learn and grow as an artist and educator. This, finally, feels like home.

We’d love to hear your thoughts on NFTs. (Note: this is for education/entertainment purposes only, readers should not construe this as advice)

NFTs are fascinating—they’ve opened new doors for artists, offering a way to monetize digital work, reach global audiences directly, and establish ownership in ways that weren’t possible before. I think it’s exciting how NFTs democratize access to art, allowing creators who might not fit into traditional gallery systems to still find success. The idea that artists can build communities around their work, benefit from resale royalties, and experiment with new forms of digital expression is a significant shift in the art world.

That said, I approach NFTs with a healthy dose of caution. While there have been some notable success stories, like artists finding financial independence or collectors building meaningful portfolios, the market has also seen volatility, speculation, and hype-driven bubbles. Many projects rely more on trends than substance, leading to concerns about sustainability and long-term value. There are also environmental pitfalls, although newer blockchain technologies are working to mitigate that issue.

For me, the key is finding a balance between optimism and realism. NFTs have the potential to complement traditional art markets, but they shouldn’t replace the value of physical art or deeper artistic narratives. As with anything, the hype will fade, and what remains will be those projects with genuine artistic merit, strong communities, and thoughtful execution. I’m excited to see how artists continue to evolve in this space, but I think it’s important to stay grounded and recognize that not every NFT project is a guaranteed success. The most meaningful contributions will be those that embrace both innovation and integrity.

Contact Info:

• Website: https://jameswilliammoore.com/
• Instagram: https://www.instagram.com/the_jwmartist/
• Facebook: https://www.facebook.com/jwmartist
• Youtube: https://www.youtube.com/@JWMArtist
• Other: https://j2atelier.com/https://lattesandart.buzzsprout.com

Image Credits

James William Moore (all photos)