All that Remains, a series of square panels, displays crows who occupy bare branches, sometimes sharing them
with images of fragmented photographs. The birds are painted with an incisiveness that sets them off like
specimens against monochromatic expanses. In some works, the leafless branches are matched by desiccated
crows, while in others, the birds are in full feather. The groupings of the crows, as well as the antique images,
suggest an extended family portrait, played out as a nature study. Like Audubon, Moline-Kramer is devoted
to the kind of keen observation that suggests a preternatural closeness to the living world, and an obligation to
tell the truth about it. This work evokes a deep personal history and with this intimacy conveys the mystery of
family, with all its sense of loss and continuity. The series also includes a group of raw, fluid drawings of crows,
alternately feisty and ghost-like presences, who seem to be valiantly making their way in a difficult world.
John Mendelsohn