Jill Moser, ‘Violets’, 2019, Print, Color aquatint, Manneken Press
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Jill Moser

Violets, 2019

Color aquatint
23 1/2 × 20 in
59.7 × 50.8 cm
Edition of 20
.
$2,000
Location
Bloomington
Have a question? Visit our help center.
About the work
Medium
Signature
Front, lower margin
Series
"Chroma Six"
Publisher
Manneken Press
Image rights
Jill Moser and Manneken Press
Jill Moser
American, b. 1956
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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.

Jill Moser, ‘Violets’, 2019, Print, Color aquatint, Manneken Press
Save
Save
View
View in room
Share
Share
About the work
Medium
Signature
Front, lower margin
Series
"Chroma Six"
Publisher
Manneken Press
Image rights
Jill Moser and Manneken Press
Jill Moser
American, b. 1956
Follow

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.

Jill Moser

Violets, 2019

Color aquatint
23 1/2 × 20 in
59.7 × 50.8 cm
Edition of 20
.
$2,000
Location
Bloomington
Have a question? Visit our help center.
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