An initial mapping of Mosh Kashi’s new works reveal a preoccupation with two principal groups of paintings. The first, lacking any painterly point of gravity creates a sort of symmetrical construction – a division of space in the direction of abstract dealing with the sublime. (The Fields, and The Sky of Darkness and Light) The second group refines the subject of painting to an essence that creates a clear and absolute point of gravity, sometimes autonomous without space or specific place. (The Horns, The Thicket, and the Embalmed Series).
The works from the Fields series detour the concrete place and time. More than they reveal the landscape, they create “Gestures of Landscapes” or essences of landscapes that rely on landscape and reality. The barren fields with the coloring of camouflaged animal furs expose the illusion created by the multiplication of the dense plants, stretching out with no landmarks, like a soft fur spread from here to there. The fields appear like a meta-spatial and meta-temporal fractal.
On the line of the horizon – skies thick and saturated as if stopped by a thread of hair that barely holds back the meeting of sky and earth. This charging of a meeting between living plants that confront the lifeless empty sky that is as heavy as lead reveals the fundamental duality at the base of this painting that contains sensual strata that vary between one life environment to another.
In the series The Sky of Darkness and Light the mass of darkness, thick and opaque heavily lies across most of the painting and only a vague line creates a hallucinary border between darkness and light. A sort of image of the creation of the division of sky and land, water and sky. This series creates an affinity to photography. At the different stages of the development of photography, at the moment when the image appears through the liquid, the critical moment is revealed that inscribes the meeting of light and darkness. This moment is the heart of the painting, creating a specific-mental weight that cannot be measured. This is created through knowledge, intuition, from the image of division between two air materials. The one, light and soft, and the other thick and dense.
The series of trees in The Embalmed on green boards echo the flattened appearance of plants that have been pressed between pages of books in an attempt to save them. The plant’s physiognomy necessary for passing on the truth is completely destroyed even though the morphological characters still remain. These trees bestow the sense that they have been embalmed in the silence, in a green darkness. Floating in dark forest-green as if it was their preserving fluid or at least a memory of their color. These trees are naked of any green leaves or sign of life, they create a sort of gentle colorful etching of a dry skeleton, a sort of dumb ornamentation.
And opposite them, the Thicket works, which invade the sides of the painting from every place and to every place. They create their own dynamic abstract and depth. The ball of thicket cannot be disentangled. The thicket blocks the viewer’s gaze. Using their sharp focus these works confront the abstractions of fields and skies and sharpen the concept of “private proportions,” the autonomy of every work.
From series to series the possibilities are articulated. The attempt to refine, to purify, to leave traces. The memory of density and the great charge that is discharged and turned into the abstract, to no where and no time. Apparently.