Silking, 2016 oil and silkscreen on canvas 30 x 30 inches Jill Moser has long expressed an interest in the arrested image. “I am after an image that is caught as it is made, caught in the act, held in suspended animation.” She sees the gestural mark as a snapshot of its own en- actment, and has often used a direct method of pressing paper over a wet line to echo the mark by transferring it back from the paper to canvas, creating a stutter effect like suc- cessive frames of film. She is fascinated as well by the medium of film itself, specifically the native way in which an image is captured as it is recorded in increments of time. Silking is one of the smaller but key paintings in the exhibition. “Silking” is also a filmmak- ing technique to diffuse an image by placing a sheer fabric between camera and subject. The title is particularly fitting for the airy del- icacy of the painting, so reductive as to sug- gest a shadow cast by something offstage. On an additional level, “silk” acknowledges the role of silkscreening in all but one of the paintings in the show. As she has recently explored in monoprinted silkscreens, editions in etching and lithogra- phy and a series of cut-and-paste collages, Moser continues to pursue reiteration and the juxtaposition of the mechanical and the handmade. Last year, she chose a painted composition of wide brushstrokes, photo- graphed it, and after dividing the image into two sections, had large silkscreens made for the purpose of printing all or portions of one or both of the screens directly onto the sur- face of prepared canvases. The duplicated representation of the spontaneous mark set up the ground and established the topogra- phy for the paintings that followed. “As in all printmaking, it distanced what was familiar, offering an invitation and provocation to re- spond to.” PLAY REPLAY is an apt title for this body of work as there is a deft touch of both wit and rigor in these new paintings. As she began the se- ries, Moser’s response to the printed ground