Michael Moss

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Michael Moss

Moss received an M.A. from Boston University and studied with T.M. Nicholas, a nationally recognized American artist. Thoughtful and articulate about his art,he describes his style as more expressionist, than impressionist. He says,” I’m more of an expressionist, not the traditional German sense, but in that when you’re allowing the subject to speak to you it’s more of an expressionist experience. Over the months I’ve been able to see the changes not only in me, but also in my painting. It seems to currently be at a point where impressionism and expressionism meet impressionistic by virtue of the subject matter, with its attendant light and color, and expressionistic because I’ve come to understand how to let a place, or subject, affect me. What I bring to the effort is only the beginning, how I am moved and shaped by what faces me makes us both who we are.”

“All of my work is done outside. I paint alla prima, in one sitting. I like the rougher quality; the choices have to be made quickly.You learn to feel a painting as it develops, as much as to see it. The subject and I work together. By being outside so much, It lets the experience speak to me.It’s like a theatrical dialogue. An empty panel is an empty stage.You are creating a world that people respond to. Painting from life incorporates all the joy, awe and sweat of being fully alive, totally aware and present in the here and now.”

It is no coincidence that Moss uses theatrical references to describe his work. The artist only bean to paint in his 40’s-before that he had a career in the theatre-first as an actor and director an than as a playwright. Moss has written about twenty plays, most produced on the west coast. “Painting is as compelling and exciting as writing. To take up a new discipline, builds on everything you’ve done before.

Moss professes an admiration for an interesting array of painters, Mondrian, Matisse, Marin, and Diebenkorn.

On his own approach to his art, Moss says, “Throughout our lives we interpret our changing pace in the world through a catalogue of senses. Visually, shapes, color, and patterns of dark and light configure our personal world. Ideally, we respond to a painting as if to a submerged thought, some unexpected re-acquaintance beyond our rational control...an echo. Painting must reawaken, must burn the haze from our eyes, stimulate and reconnect us-not merely to some supposed reproduction, but to the wealth of imagination of our own personal symbolism-those shapes, colors, compositions, and juxtapositions, those stimuli that we’ve long since abandoned somewhere in our minds. The best painting, the finest art touches your spirit, and refuses to let you go. Not because you understand everything it has to offer, but because it recognized you only too well.” 

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