Jill Moser, American (1956 - )

Jill Moser’s paintings are deceptively lucid and satisfyingly complex. She lays down lines of a single color on a pure white ground and realizes compositions both taut and at ease. The lines are swift yet stilled, fixed and embedded in the residue of a process of erasure and adjustment. Incremental marks and events of the hand establish an environment in which the usual relationship of figure to ground becomes indeterminate. The deep space carved by Moser’s looping, repeating, rhythmic line punctures the ground and establishes a velvety void at the areas where lines converge and give over their identity as line to form.

The paintings establish a depth of field that Moser has explored in paintings, drawings, photographs, monotypes and etchings. Her exploration of the potential of each medium has generated challenges for her in the others and her exhibitions in New York and elsewhere have demonstrated the range and momentum of her development. Moser described in a recent interview:

Following her last show here in 2007, Jill Moser printed Billabong, an aquatint with spitbite and drypoint, with Burnet Editions for the Metropolitan Museum of Art’s Mezzanine Gallery. Shortly thereafter Moser was commissioned by the Lincoln Center List Art Program to create a limited edition silkscreen that was deftly reverse-engineered from an existing painting. She is in the midst of a lithography project with Landfall Press and has recently completed eight unique oil on paper monoprints entitled Hand in Glove, a selection of which will be included in the show.

Working within this diverse range of printmaking methods fostered an intuitive parsing of structure and process. In Moser’s words: To work on a print is to strip down the constructive parts of an image, slowing down and revealing the performative aspects of it’s making. I’m intrigued by how the process records both the structure and the event and makes the process of becoming visible. Hand in glove ? the gesture in cahoots with the machine.

These prints and a contemporaneous series of drawings called Sixteen Street led Moser to introduce a new dynamic into her new paintings. She establishes a dialogue between the tracery of wide metallic brushstrokes and her characteristic fine line graffito. She has set aside the deep prussian blue that defined the prior body of work for a range of saturated color, here too playing off a relationship between neutral tones and vibrant hues. In her newest canvases ? Slipstream, Mary Mary and House of Cards ? a larger format enables Moser to multiply the weave of interactions at the heart of her work.

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