Moran's new works present questions about how we look for meaning in paintings – and what are definitions in the language of surfaces, textures and gestures. His seemingly monochromatic images give the impression of traces from another process. The paintings have a relation to experiments at the invention of photography early in the 19th century; the first (perhaps ‘failed’) images of Thomas Wedgwood, Nicéphore Niépce and Louis Daguerre. His paintings can easily shift from one interpretation to another as the physical (or emotional) viewpoint of the viewer changes. A surface at once briefly seen as a scape - of land or sea or sky - then becomes an openly expressive gesture, then dissolves into a quiet echo. These deceptively simple paintings fill an intimate space with questions for the observer, finally left with an endlessly indeterminate foreground and background. The paintings play out as a study in comprehension for the eye – and mind. Paul Moran lives and works in New York City and has been painting for more than thirty years.