Seasons
Ryan Mosley
March 12 – April 25, 2026
Opening: Thursday, March 12, 5 – 8pm
The Berlin gallery is not barrier-free. But please feel free to call ahead at +49-30-2806605 and we are happy to assist you, so that it will be possible for you to enjoy the show.
Have a look into the flyer with exhibition text, short biography and selected images:
EXHIBITION FLYER
Seasons are not simply seen; they are lived through, subtly changing how the body moves and feels before we are even aware of it. In Mosley’s paintings, figure and landscape appear continuous as figures echo the contours of the land or seem to rise from it, they are part of the landscape rather than placed upon it. In Bedrock, the striding figure appears flattened into the same visual plane as the water and rocks behind him, his body drawing its colours from the landscape and his skin touched by the peach light of dusk. Where we can often experience the body as a barrier between inner life and the external world, these paintings instead visualise continuity, suggesting that seasonal experience is both internal and external both felt through the body and shaped by the world around it.
This approach resonates with Maurice Merleau-Ponty’s phenomenology, which rejects the idea of nature as a neutral backdrop perceived by a detached observer. For Merleau-Ponty, perception is grounded in the body and understood through movement, posture and the senses. In Mosley’s paintings, sparse details - a hat, a bottle, or the way a figure holds themselves - locate the figures socially and materially, anchoring these staged yet embodied encounters with time and place that is both recognisable and unknowable.
Across the exhibition, Mosley constructs worlds in which trees, mountains, snow, sun and lakes are active elements rather than backdrops. In the snowy scene of Certainly Mackinaw Weather, this activation is felt through the body: we imagine a familiar shiver, a pre-reflective response to seasonal change, followed by the instinctive reach for the comfort of a trusted coat reassured by the knowledge that the seasons turn and return. In this sense the exhibition title refers not only to geographical seasons but also to seasons of the mind or inner states shaped by the rhythms of passing time. This logic unfolds across the paintings as they hold body, landscape and perception in continuity, with the figure serving as a hinge between inner experience and the external world.
Beth Hughes
