Project Gallery
1553 N Cahuenga Blvd. Hollywood 



February 20 Press Preview & VIP opening

6p – 10p

Invite Only, RSVP required

Open to public: February 21   7-10pm

Exhibition: February 21 – March 30, 2014

Gallery hours: 12p-6p W,TH,F; 11a-5p Sa & Sun.  

Closed Mon. & Tues.

Jen DiSisto, Art Duet, PR for Project Gallery, jen@artduet.net323.835.5221

Maureen Sullivan, Red Art Projects, PR for Innocents Exhibitions,  917.846.4477
 (January 6, 2014  LA, CA)   As everyone knows, the apocalypse happened in December 2012 and the world changed fairly drastically. On the surface, and for the most part, life appears normal, the significant and bizarre shifts lurking but barely perceptible. This is the premise for Innocents, Moby’s created documentary evidence of the cults of Innocents. Launching in LA from February 21 through March 2014, Innocents follows Moby’s acclaimed photography exhibition Destroyed, 2011, exhibited in NY, LA and worldwide concurring with his year-long concert tour. Since Moby moved to Hollywood in 2010, he has become fascinated by Hollywood Hills’ hidden history, as well as an obsession with cults and the passion and extremes pursued for personal reinvention. In Innocent’s lush and ominous large-scaled photographs, captured in garish color, Moby invites audiences to step into the scenes in which individuals and groups, wearing masks and white robes, attempt to make personal and collective sense of the apocalypse.  Plastic masks, some store-bought animal faces and others Day of the Dead inspired, all take on a more ominous feel in the context of these images. Covering not only the face, they mask the darker emotions and motivations that we hide even from ourselves – fear, shame, and a hedonistic willingness to try anything to succeed and fill the voids. Reinvention – spiritual, physical, psychological – is carried out in the extreme in these documented rituals. This work continues Moby’s practice of taking pictures of the normal and exposing their oddness, as well as taking the odd and presenting it as normal. The series was shot over the last three years in Hollywood and the surrounding environs, co-current with the creation of his latest album, Innocents, released in October 2013.


moby on Innocents:

nothing happens quickly.  

even the things that happen quickly don’t happen quickly.  

a volcano or an earthquake might seem spontaneous and violent, but they’re

the result of long and obscure processes.  

the apocalypse of 2012 happened in an instant, but it had begun, almost tectonically, ages ago.  

when an ocean liner turns, it appears, for all the world, identical to how it appeared before it’s turning.  but its new trajectory is a departure from its old, and this

becomes increasingly evident over time.

the apocalypse of 2012 was with us, then it was upon us, and even now it’s both a part of our collective fabric and a representation of something disconcertingly new.

everyone has responded in their own way.  

some with an atavistic attachment to what they saw as their pre-apocalyptic, quotidian lives; others with an emblematic representation of the paradoxically subtle and dynamic changes.

‘the cult of the innocents’, of course, fall into the latter category.

they first appeared in the seconds after the apocalypse, when the eschatological dust was still settling, bringing with them their silence and their shame, as represented in sacrifice and concealment.  

this was their best response to the changes that they observed and felt but only understood in the most basic and subjective ways.

‘clearly we’ve brought this upon ourselves’, seemed to be their mute proclamation, ‘and we shall stand hidden, as testament to our shame at what we are and what we’ve been.’

it goes without saying that the sacrifices in the hills created and attracted a lot of global media attention.  in this show, however, we’ve chosen to underrepresent the more

sensationalistic aspects of the ‘cult of the innocents’, instead focusing on their mute and somber penitence.



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