Jean-Luc Moerman's indefinable shapes, formed by black lines around brightly-coloured tinted areas, are inspired by countless influences: mostly graffiti, but also independent comic strips, Japanese mangas, science fiction, utopian and futurist designs, car tuning, etc. Sometimes his painted forms seem to refer to biotechnological evolution, communication technologies, and virtual architecture, etc. However, a closer analyse of Jean-Luc Moerman's works allows a better comprehension of their richness. Far more than the product of diverse influences, his paintings are the result of his constant drawing.
A complex articulation between the volume, suggested by the drawings (the black lines) and the large, flat surfaces, generated by the colour sections gives Moerman's oeuvre a dynamic that makes the medium an almost irrelevant aspect. Even if his paintings fit into the formats of classical painting (canvas, paper sheet, etc.) without any difficulty, they easily exceed the limits of the frame or the place that serves as the surface. What counts, is the ensemble of shapes that surround us, becoming the theatre of his artistic interventions. The generic term 'virus-painting' is probably the most appropriate to describe this kind of expression.
A complex articulation between the volume, suggested by the drawings (the black lines) and the large, flat surfaces, generated by the colour sections gives Moerman's oeuvre a dynamic that makes the medium an almost irrelevant aspect. Even if his paintings fit into the formats of classical painting (canvas, paper sheet, etc.) without any difficulty, they easily exceed the limits of the frame or the place that serves as the surface. What counts, is the ensemble of shapes that surround us, becoming the theatre of his artistic interventions. The generic term 'virus-painting' is probably the most appropriate to describe this kind of expression.
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