Gabriel Moses Is the Chosen One

When you see Gabriel Moses’ imagery—whether a photo or video—you know it is his right away. He crafts a language that is singularly his own. The mood is heavy but ­deliberate. Nothing feels casual. Every frame is staged with intent, yet still carries the weight of real memory. There’s no excess, no chaos—he edits the world down to its essence. The minimal contextual details present in his photographs and films ­encourage us to focus on the exchange between the artist, the subject and their inner sentiments. It is all about showcasing gesture and emotions as a natural mode of ­expression and universal understanding.

He has broken industry codes and delivered some of the most memorable visual moments in recent years, collaborating with such luminaries as Pharrell Williams, Travis Scott, Skepta, Playboi Carti and Clipse. This past year, he designed the trophy for the 2025 Brit Awards, and has opened exhibitions all over the world—his last one, “Selah,” at 180 Strand, spanned over 16 rooms, with over 70 prints on display and 10 ­cinema rooms playing more than 60 videos. Moses has truly paved a way for something bigger to come out of all of this, for both himself and his peers.

His latest venture is film, and while working on his first full feature, Moses gave us a taste of what’s to come with The Last Hour, executive produced by GOAT and ­DIVISION. The plot follows a man with a time bomb strapped to his chest, giving form to the question, “What would you do if you only had 24 hours left to live?” The short film—32 minutes long—takes viewers on a journey through universal humanity, morals and legacy, as seen through stages reminiscent of the seven deadly sins in correlation to the seven capital virtues. The narrative reflects on an inner conflict between ­emotional intuition and logical reasoning. Oftentimes, the thing that is going to be the end of us essentially ends up being the thing that saves us—or is it?