“A formal quality of slightly exhausted or worn down reproduction is shared by Ebrel Moore’s work, ‘Jesus Fat’ (2013). A fragment of Hieronymus Bosch’s ‘Christ Mocked (The Crowning with Thorns)’(1490-1500), sits beneath an image of a corpulently obese woman, coyly peering over her shoulder from a shower cubicle, surrounded by wallpaper apparently printed ad infinitum with gaping, open mouthed men. This fragment’s connection with the fuller Bosch painting, where the figure of Christ is surrounded by the faces of mocking tormentors seems intentional, and first impressions lead us to assume claims of empathy for the woman. The expression in Christ’s face complicates this presumption, his countenance seems to portray a knowing complicity with the tormentors, as if they are props in his story; ‘evil’ created to service the narrative drive of ‘good’. In turn, the face starts to connect with the woman above. It suddenly seems oddly flirtatious, moving with uncertainty between a morbid fascination and an empathetic understanding.
The fragments appear to have been photocopied several times and then put into files, before being torn out and placed together. As with Major’s piece, the weathered quality of the imagery creates a sense of indigestion rather than seamless, unquestioned reproduction. It is an absorbing, layered piece, which shows sensitive awareness of the possibilities in its source material as well as how to develop new movement from their proximity.”