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 has been exploring the intersections of painting, writing and the animated image for over thirty years. During the past two decades, she has created a large body of prints with many significant contemporary print publishers. Moser’s paintings, drawings, prints, and artist’s books have been exhibited in galleries and museums throughout the United States and Europe, and are featured in prominent museums and public collections, including The Metropolitan Museum of Art, The Museum of Modern Art, The Museum of Fine Arts Houston, The National Gallery of Art, The Yale University Art Gallery, The Fogg Art Museum, and The National Library of France. Moser has taught at Princeton University, Virginia Commonwealth University, The School of Visual Arts and lectured across the United States. She lives and works in New York.
