He sees the relationship of the city to the countryside to be symbolic, and equal in nature; his interpretations site the city as a place of organic growth as well as being the center of horrible pollution.

There is the smell of reality, then, in this group of paintings; but his nature paintings are somewhat different in the sense that they reveal an elegiac, even a tender emotion that suffuses his studies of individual trees and small groves.

Moseholm is not a political artist, preferring to see his work as suggestive of hope in regard to the future. Yet his concern involves his studies of the outdoors with a moral awareness which, even if it is not directly stated, nonetheless makes its clear that the artist possesses a great respect, even a reverence, for the world of woods and valleys, mountains and streams.