Watching Moses' works change over the years has always been an inspirational experience. I come away from those moments with all kinds of ideas about what is possible in generating an image. Every show is different. Every image is a conversation with the image just seen before and what is next on the wall. The energy within the various series reminds me of the power of a film and the space between the images on the film track. Each image leading to the next of the series. At the end of the series, the story is still not finished. It has laid the groundwork for the further experiment with imagery and speed. I think of his fluid way of working as a total spontaneous extension of the just-completed work.
When a new series flows out of the studio, it carries the weight of all the work done before and opens the door to new ideas about image potential. Ed does not like things done easily. The works may flow fast, but there is an ache in the process that is palpable; one can feel it. These are not painless works; in a way, they are portraits of a painful process… maybe I can say “paintful” process. The man is addicted to how paint flows and he follows the paint and all its agonizing potential. Sometimes the canvas he works with is good to him and sometimes it adds pain to the process. Ed seems to thrive on the “pain of work.” The more tired he gets, the more he works at getting rid of the present pain with new pain. The results are a lifetime of painful painting.
Larry Bell, 2016
Dog-Flip, 2009, acrylic on canvas, 182.9 x 152.4 cm
Orange Apr, 2011, mixed media on canvas, 259.1 x 193 cm
Budulox, 2006, acrylic on canvas, 152.4 x 121.9 cm