“There were a lot of moving parts and voices, but that works for me because my first real creative career was with McCann, the ad agency,” Moss says. “And so I kind of only know how to work with too many people and on very short timelines.”
While Moss designs visuals meant to be seen at scales anywhere between your iPhone and a festival stage, the large, outdoor work excites her the most. Last year, she was commissioned for Track Takeover, a public art exhibition on ad space in Philadelphia’s subway system, for which she illustrated a glowing cityscape. “Philly is this electric city, so I wanted to create something that felt like it was glowing in the dark,” Moss says. “It’s known as being this dark, scary city, but it has this magic to it.”
Throughout Moss’s work, there’s an undercurrent of liberation. (When people reach out to collaborate with her, they often comment that her work feels feminist.) Sometimes it’s very direct, like Woke Magazine, a personal project of hers from 2016. The satirical publication addressed our era of mass information—being constantly bombarded with the 24-hour news cycle and clickbait that exploits trauma—and misinformation—of media that doesn’t tell the full story or flat out lies. Through the publication, Moss sought to tell social and political stories—like the Flint water crisis and protests in Brazil against the authoritarian regime—in a softer, but still true, way. She also used color blocking to visually represent censorship and how news can be altered.