ARTISTS
Jill Moser: Borrowed Light
Edward Cella Gallery is pleased to present its first solo exhibition of paintings on paper by New York based artist Jill Moser. In works where gestures are imbued with meaning and protest, Moser鈥檚 distinctive touch is revealed in emotionally charged abstractions.
In the emergent psychology of her expressive line, Moser forms a language and record of activity that is emotive and bodily: a convergence of mark-making that reveals her performative process. The gestural line in her works is both expression and description, the beginning of a dialogue not just between figure and ground, but one in which the ground has a dimensional space that rivals that of the overlaid graphic figure.
Most striking in this new work is Moser鈥檚 vibrant use of color, the light of this color borrowed from the history of painting from Pontormo to Warhol as well as the landscapes she has traveled in from Iceland to the East End of Long Island, NY. Borrowed Light for her, defined as 鈥渞eflected light or the light entering a darkened space鈥�, is a provocation where nascent, almost animated figures hold a suggestion of pose, character, and voice. There is a searching quality to these drawings that suggest that uncertainty can be auspicious in ways that decisiveness closes off, and this has been characteristic of Moser鈥檚 pursuits that continues to propel her explorations forward.
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Edward Cella Gallery is pleased to present its first solo exhibition of paintings on paper by New York based artist Jill Moser. In works where gestures are imbued with meaning and protest, Moser鈥檚 distinctive touch is revealed in emotionally charged abstractions.
In the emergent psychology of her expressive line, Moser forms a language and record of activity that is emotive and bodily: a convergence of mark-making that reveals her performative process. The gestural line in her works is both expression and description, the beginning of a dialogue not just between figure and ground, but one in which the ground has a dimensional space that rivals that of the overlaid graphic figure.
Most striking in this new work is Moser鈥檚 vibrant use of color, the light of this color borrowed from the history of painting from Pontormo to Warhol as well as the landscapes she has traveled in from Iceland to the East End of Long Island, NY. Borrowed Light for her, defined as 鈥渞eflected light or the light entering a darkened space鈥�, is a provocation where nascent, almost animated figures hold a suggestion of pose, character, and voice. There is a searching quality to these drawings that suggest that uncertainty can be auspicious in ways that decisiveness closes off, and this has been characteristic of Moser鈥檚 pursuits that continues to propel her explorations forward.
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