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Marc Goller Rob Chamaeleo Alexia Lloyd Boreal Arburola Bastian Ramoser

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August 26th 2013 / Milan, Italy / Bianca de Ritis



His Muses are present and past icons, ageless subjects who represent and have represented feminine beauty for generations. They are women who immortalized the greatest artists; from Botticelli to Jean-Auguste Ingres, passing through Dürer, Antoine de Favray, Ingres and many others.

They are Jean-Luc Moerman's icons; abiding beauties whose lives and personalities have been renewed by this Belgian artist.

Influenced by street-culture, body painting, tattooing, urban graffiti, and Japanese calligraphy, Moerman started his expositive career in his hometown, Brussels, in 1995.

During the last 18 years his works have crossed Europe and globetrotted five Continents, exposing in some of the most important galleries of the world.


"A top model may now be the accepted reference of beauty, but before it was these Orientalists, and before that something else. The context is changing, but it's always the same story," the artist says.


"When you bring this pattern in, it makes these subjects look more human. Kate Moss, in reality, doesn't look as perfect as that. The pattern brings her back to the reality of life."

Using pen, ink and acrylics he brings the iconic aspect of his subjects to a real dimension, reminding us that ''everyone is tattooed somewhere,'' and that inevitably the tattoos we carry, be they internal or external, visible to others or concealed, will multiply or spread beyond our immediate control.

Not accidentally his last expo was titled Epiphytes (plants that grows on another plant upon which it depends for mechanical support but not for nutrients), matching his curves and whirling lines, which untangle on these women’s bodies.

But behind the precision of his traces, mechanical and automated -as he defines them- there's an out-and-out way of thinking which carries this Belgian talent closer to Pollock than to artists like Beuys: ''When you see Pollock's work, everything looks so precise and in its right place, but the process of producing them was not like that at all,'' says Moerman.

His art is total. Nothing is left to chance. His expo is curated to create totally enchanting atmospheres, which do not limit to the exposed works, but makes these works fill the whole ambient, in which the spectator is absorbed and completely involved: ''The context is very important: every time I do an expo, I paint all the walls for writing a context and spreading another one. I prefer to create my own volumes; my own context in which people would like to come back to''

Although his career has virally started in Europe, his future is certainly out of the Old Continent, especially in Asia and the new contemporary art markets, which haven't let him go and have already acclaimed Moerman for the expressive uniqueness of his works.

Perfect

Humans