Ben Moshe's sculptures are hybrid fusions of glass, plastic and crystal. Dr. Aya Lurie describes them in the accompanying text to his 2014 exhibition, The White Light, at Alon Segev Gallery, Tel Aviv:
Like the remnants of different functional worlds, they represent various states of matter and cultural spaces and times. They are elements originating in a biological or chemical laboratory, a living-room cabinet, a display catalogue, or a three-dimensional printer. Occasionally we might recognize a spindly glass flower, a crystal star, or an overflowing champagne tumbler, but for the most part we sense the refusal to form a unified, specific, or organized narrative. The same is true for the mutable materials and states of matter: plastic looks like luxury crystal, melted glass gives the impression of ice or a falling drop, and what appears to be handmade was actually produced by a digital printer. Ben Moshe's work presents a fusion of hedonism and debauchery, possessiveness, chaos and destruction—the consolation of scientific-technological progress, coupled with the promise of spiritual salvation.
In Ben Moshe’s own words, “The artist is a medium. In whichever medium I choose to work—be it sculpture, or digital, or video—it is always kind of a visual séance. I believe art has the power to uncover hidden realities and illuminate them with light.”