During this year's Oslo Negative at Den Gamle Veterinærhøgskolen Geir Moseid is showing two new works. In the small booth that was previously used for examining animals we find a photograph and a photogram. The photograph is figurative and dark, the photogram abstract and bright.

The photograph is a close-up of the faces of a man and a woman. The woman's face approaches the man's, her mouth turned to his ear, his mouth slightly open. An inhalation, exhalation. An indefinable transaction covered by a veil of darkness. An uneasy calm caught within a tight, hard frame. We are drawn to it. Investigating, wondering, drawn into its soft, impenetrable darkness.

The photogram is large, light and soft. Light pink and blue. It opens up, breathes. Tilts out from the wall. Playfully. Easy. We breathe. Out.

In the space between them; a space between the relieving light of the sunrise and the convoluted darkness of the black trumpet mushroom we stand. In the intangible tangible, in the near absence, in the real unreal. In the meeting between something unclear concrete and clarified abstract. In the infinite distance that can be felt between oneself and another, even though one is physically so, so close. In the palpable nearness of a sunset, even though it is so, so far away.

There is a patience in Moseid's works that gives the viewer a sense of calm that encourages a stillness, at the same time a nerve that stimulates the brain to search and play. In the insistent openness, the mind is given an opportunity to wander. We walk in what is and has been; feelings and stories we carry with us. We wander into something new; inside new thoughts, reflections, into new spaces.

In the essay Have you ever swam in virtual waves? written in connection to Moseid's exhibition Undertaking in 2019 Kristian Skylstad concludes by asking; “Can you face the endless sky? Can you face the pain of the other? Are you ready to embrace the violence of today? Are you willing to pick up a sufferer from the pavement? Have you ever seen into the eyes of a child and felt awe? No? You’re not alone. So I ask you again. Have you ever swam in virtual waves?”

The passage both releases and captures a comprehensible incomprehensible feeling that feels relevant facing Moseid's work. By doing so Skylstad paints with words the potential that lies within Moseid's work. Their ability to open up and inspire the mind to create something new that does not exclude, but goes together with, not instead of, but alongside. Something more holistic and at the same time complex is created in this space, and we as viewers are invited to add something.

A longing for the tangible, for presence, can be felt in Skylstad's text. The same longing is present in Lara Konrad's text written for Moseid's solo exhibition move closer, which is currently on display at Melk. Konrad writes in the text, a text that takes us on a walk in the landscape between Moseid's work and her own life; "The woman knows too well the trajectory of moving from thought into being, into feeling. Until fairly recently, she was only mind".

With this sentence Konrad summarises a profound human journey full of obstacles and resistance with a sentence that flows so easily and calmly through us that it is almost not notable. When we walk in the spaces of Moseid's works, in the spaces between the works, we can find ourselves balancing in the intersections between the three states Konrad describes; between thinking, being and feeling. His works facilitate an exercise for us as viewers, a harmless exercise in one of life's most challenging dances, where we can fall into old patterns, but perhaps also spot them, create new ones and perhaps with enough practice, be released.