In each of the Chroma Six prints, a dialogue takes place between figure and ground. The gestural, almost animated figure is both expressive and descriptive while the ground is imbued with a deep dimensional space that rivals that of the overlaid figure.
Jill Moser’s strongly gestural paintings and prints are calculated explosions of calligraphic lines and color. Her oeuvre is largely an exploration of the language of abstraction. She pairs wide and vigorous brushstrokes with fine line work: looping curves, areas of color saturation, and spaces of smoky evanescence. Like Philip Guston, Moser’s broader practice centers on a dialogue between painting and printmaking. “To work on a print is to strip down the constructive parts of an image, slowing down and revealing the performative aspects of its making,” she says. “I’m intrigued by how the process records both the structure and the event and makes the process become visible.” The print allows Moser to introduce a mechanical process that mediates between her hand and the image thereby allowing her to slow down and re-encounter her own gestures.
