Jill Moser is a New York-based abstract painter whose practice often explores the dialogue between painting and printmaking. Moser’s vocabulary is rooted in gestural line that at first appears spontaneous and immediate, but belies the manipulation, blotting, redrawing, and fixing that are at its core. Her gestural brushstrokes seem at once violent and poetic, capturing the energy and gesture of her signature calligraphic line caught and held in a quiet equilibrium. These new prints are a radical departure for Moser in her use of a highly charged, vibrantly saturated color palette that reverses the figure/ground relationship with which she typically works. While at Wingate, the artist developed a process in which she painted directly on the copper plate with white ground, allowing her time to work, look, and rework by wiping away areas, diluting the ground with water, over-painting, and sculpting this paste-like mixture. When the plate was etched and printed, the white ground brushstrokes became negative open space. By printing a flat color plate beneath the form, Moser was able to explore the possibilities for altering positive/negative space, balancing the form in a tight relationship with the space it inhabits. Other marks and lines were then added, using spit bite and sugar lift ground – both painterly techniques – to expand on and reinforce the composition.