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Nocturne 1601, 2021, Acrylic on canvas, on concave wood panel, 60 x 90 x 6 inches.

Andy Moses: In search of the sublime
JD Malat Gallery
From June 10 to July 16, 2022

By LORIEN SUAREZJune 2022

Andy Moses’ next exhibition “In Search of the Sublime”, curated by Sean Scully at the JD Malat Gallery in London, opens June 10. The exhibition includes a collection of paintings which, through a back and forth between a representation of reality and the illusion of abstract space, finds a perceptual resonance with the joy of living. As Shana Nys Dambrot noted, (Moses) “manipulates thickness instead of brushstroke, movement instead of gesture to replicate both natural and transformational process, forcing idea and material into a conscious cooperation. convey…those moments in nature where the convergence of abstract aesthetics and emotional possibility approaches the sublime”. It is a creative realization that James Hayward saw as a transition from “research to discovery in his works. Peter Frank observed, “In the work of Moses, space is curved and uncurved, endless and depthless, invisible and optically encompassing.” Concave rectangular, flat hexagonal, and circular canvases reveal points of endless flight from an infinite expanse.From then on, the artist conveys a metaphysical invitation drawn visually from his paintings.

Andy Moses remembers that in their dialogues about art, Sean Scully introduced him to John “Madman” Martin’s painting. A contemporary of Turner, Martin’s landscapes were imposing, dramatic compositions enhanced by exuberant color selection. At the time, the nickname “Madman” categorized him, as well as his unapologetically animated work. Both Scully and Moses saw in Martin’s landscapes a similar understanding of the inherent drama of life and the power of nature.

Emily Dickinson wrote of such a delightful connection to life. “Find ecstasy in life; the mere feeling of living is joy enough.“Similar to Dickinson, Moses’ art intuits the ecstatic dimension of being. While surfing in his youth, he recalls the experience of “see moving water while floating through it,“sensitizing him to his existential traits. While “see how everything was changing, moving, moving and coming together,“there appeared one”infinite sense of universal beauty.“For each instance on the painting, a distinct pocket of nature’s beauty emerged; it touched this moving opus traversing time, materials and dimensional space.

Geodesy 1230, 2022, Acrylic on canvas, on circular wood panel, 60 inches in diameter.

Patterns appear and dissipate in the natural world as oceans and dunes constantly reframe into new shapes. “Some are ephemeral and others happen so slowly that we are unable to perceive them“other than by geological knowledge. Moses speaks of”fields and spaces” which connect to the pivotal forces that unfold as the Universe unfolds.

As Moïse states, “Aspects occur in the paintings that I could not have foreseen in advance. Still, as the images come in, it’s up to me to respond to the ones I go with. patterns occur, I listen to what is most like what I’m looking for; and it is here that my agency and my hand come into the work. I have ideas in advance, but they slip away once I do the work. I understood that if I do this, then it will happen. In that sense, I have a lot of control. I have a clear idea of ​​what the possibilities may be. What’s exciting about working with this process is that I only have to change a few things to open up a whole new direction in discovering its fractal patterns. I work on one aspect for a while until I feel connected to all the results that will be and somewhere where I know I have the best possible understanding of what is going on. Then, while working on a painting, everything becomes more co centered experience. The natural forms and its dynamics introduce patterns and effects that I have already explored, and at that time I work without the need for further modifications.”

Geodesy 1229, 2022, Acrylic on canvas, on circular wood panel, 60 inches in diameter.

The art of Moses conceptually represents echoes of landscapes and their natural fractal unfolding. Along with simultaneously manifesting an inner creative spiritual journey, as an artist he experiences a parallel physical synchronicity with the material, manual act of pouring as its dispersion becomes a compositional reality. This layering of many flows, which lie like independent lines of paint without blending, moves in a distinctive resonant form. Along with his inner contemplation, the flows come to life at this precise moment.

Geodynamics 1704, 2021, Acrylic on canvas, on hexagonal wood panel, 78 x 68 inches.

His work stimulates a meaningful process based on years of scrutiny. It aligns with this kinesthetic knowledge while tilting the paint and directing the fluid course of the medium. The layers are carefully deposited on top of each other in a coherent composition suggesting millennial or ephemeral natural patterns.

Geodesy 1231, 2022, Acrylic on canvas, on circular wood panel, 60 inches in diameter.

The process he employs in making art stems from a contemplative dimension and imbues his work with meaning and significance. There are a number of queries that arise. What degree of connection does the human hand play with its compositional process? How does he consider the influence of his work on the process of artistic creation? The material paint, through its application, producing liquid flows distinct from fractals, responds to the universal forces that act on it through natural laws. Gravity for one. Does this, in the end, in itself serve to evoke another dimension? Or is this increased dimension available to the artist and only this paternity allows its appearance?

The horizon and sculpted forms of his paintings as curved physical objects place his composition in a context like the spherical outline of the earth. Developing an artwork as the layers lay down can add to considerable casting volume paint that takes several weeks to dry. In addition, the paint has a variable quality. The same shade can change color when the paint reflects light and reveals another range of colors entirely. Interferential paints enhance the effects of light as it reflects off its concavity. All of these elements imbue a sense of movement. Thus, light and color produce an animated effect on the reactive gaze of the viewer.

Geodesy 1103, 2022, Acrylic on canvas, on circular wood panel, 54 inches in diameter.

As a final thought, Moses says, “I wanted this experience of being alone with the elements of nature, where the water and the wind moved me. I found the point where I saw the earth from a different vantage point and where I could simultaneously stay and move with the flow of the water. I felt there was all this territory there where you can have this kind of metaphysical and meditative experience. Some of my most intellectualized paintings evoked the science stories of the NY Times. The screen-printed works were micro and macro scaled in black and white of natural phenomena; all were efforts to understand the Universe on all these levels. Whereas now, working with color, well, there is something to working with color. It takes you to more magical and transcendent spaces. And that’s something I need. I understand the scope of color theory throughout art history. Even so, my view of color is very personal. And of course, my use of color is too. I physically feel that I need to go to these spaces and work there. Otherwise, I feel like I’m suffocating. Then I reach this ecstatic place. I hope I share enough with the viewer to give them a similar experience. Bringing you there… so who knows what? If I can get you there, I’m very happy.” WM

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