“I use […] marks in a kind of explicit and cloaked way, so you think you’re seeing the artist’s hand, but sometimes you’re seeing the miming of the hand through a mechanical process,” Moser once explained
. Such tensions—between the perceived and the actual, control and chaos, minimalism and abundance, and the conceptual and the formal—animate each one of the mid-scale paintings on view. In the oil and acrylic work Violet Noon
(2012), for example, an assortment of thick, calligraphic brushstrokes and clumps of vigorously scribbled lines jostle for primacy against a white background. Some of the wider strokes seem languid and still, in contrast to the shorter, thinner ones, which appear to be in roiling motion. There is a subtle sense of depth here, too, as the canary-yellow marks practically pop off of the surface of the canvas, while the dark purple and hazy blue-gray ones hang back, almost like shadows.