Hectic Wednesday greetings, collectors. Things are hopping here at JB Projects HQ - we're revving up for the Friday opening of Ne Plus Ultra, the Hey, Hot Shot! Annual, and there are about a million other things percolating too. (Check the gallery blog for the full update.) First things first though, and what's first is today's edition by photographer Brad Moore, one of this year's Ultras.

Dutch Club, Anaheim, California is available in three sizes. All the prints in the edition are created using archival pigment inks and 100% cotton rag paper. As per usual, the edition is available exclusively through 20x200, and as a list subscriber you can buy it now, well before it makes its debut on the homepage at 2pm today.

I brought a portfolio of Brad's prints to the Scope Art Fair in the Hamptons this past Summer, and showing his work to collectors was one of the funnest parts of the proceedings for me.* Most every person passing by our booth paused to admire the one large stunning print hanging in the booth, and many of them subsequently asked to see more prints. Invariably, by the time I was on the third or fourth print in the set, a small crowd would be gathered around the table peering over the shoulder of the collector who had asked to see the work.

All of Brad's photos share a certain mundane consistency, but one that's executed with humor and precision. Shooting suburban landscapes is something ventured by many a contemporary color photographer, so I'm always thrilled to discover someone with a fresh take on it. There's no doubt that there's something innately pleasing in symmetry, an element so often present in Brad's work, but I also love the Rorschach-like responses many of the images illicit.

Cranes become giraffes, shrubs look more like lush moss or algae rather than the sort of greenery which sheds twigs, a manicured lawn and an oddly posed shrub are transformed into a color-field Where's Waldo.

In house, Dutch Club is known as "The Fez". Shocking, I know. And while it looks like a hat, it also has an endearing plant-to-animal creature nature about it. It always makes me smile and it often makes me giggle. And then there is the enduring appeal of the color green - I really love the hyper-real green that Brad coaxes out his subjects.

This coaxing doesn't come easy since all these photos are shot in Southern California, the land of bright sun and blue skies. Grey days, which are exactly the days that make the green greener than green itself, are few and far between. Brad charts the weather obsessively (have you ever noticed how totally obsessive a lot of photographers are?) knowing that he needs to seize these rare and fleeting moments.

Last we spoke, he seemed a bit defeated by relentless sunshine and told me that he had a hunch that the he'd be focusing on portraiture for next phase of his project. Grey days and greenery be damned!

As I mentioned up top, Brad's one of this year's Ultras - he's got several fine examples of his work in the upcoming exhibition at Jen Bekman. The opening is on Friday (2.8) from 6pm-8pm. Please join us then!

*Yes, of course it was awesome kicking back with fellow JB and 20x200 artist Amy Ross who is so totally reading this right now. But this newsletter, it's about Brad. I love you all equally if for different reasons.

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Wednesday Edition: Brad Moore