At the begining of the 60's a color intensive painting develops out of the expressive Tachisme of the 50's. It is characterized by dynamic brushstrokes and figurative forms overlayed by collaged fragments torn through letter - and word - structure. With its urban themes, this can be seen as a variety of Pop Art and a precursor to the 'Wilds' of the 80's.
The Metro (Underground) themes takes on for the first time in art history a mythological dimension. Other topics: Eurylochos, Concierges. From 1965 painting expands into 3 dimensions: wood reliefs; board assemblages; the first sculptures; and cast works encouraging direct public contact.



Moser increasingly resides in Zurich in addition to Paris and Ronco. 1971-1978 President of GSMBA (The Society of Swiss Painters, Sculptors and Architects). The red and white striped plastic sculptures (small works and cast pieces in public spaces) become the new hallmark of the artist, who, however, quickly moves onto new painterly experiments.
In order to intensify the imaginary aspect of the third dimension the artist returns to the flat surface. Prompted by the quarries and the stony landscape of the Gotthard, Moser creates metaphoric landscapes in timeless space (Le bout du monde, La dernière neige, La clef de l'âbime, Acis).



1963 : 7th Sao Paolo Biennale
1964 : Kunstmuseum Luzern
1964 - 1972: Member of the Federal Art Commission
1966-67 : " L'Heure du Goémon ", Artist book with woodcuts in collaboration with Charles Estienne.
1970 : Kunsthaus Zürich
1971 : Bündner Kunstmuseum Chur
1974 : Musée de Metz
1979 : Museum zu Allerheiligen Schaffhausen
1971-78 : President of GSMBA (Society of Swiss Painters, Sculptors and Architects)
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