Hybrid Icons is the first solo show of the Belgian artist Jean-Luc Moerman in Spain. Organic drawing, viral, interactive, pop, psychedelic painting, street art, biomorphic design, are some categorical approaches to his work. In spite of critical efforts to reach an identity label his work seems to avoid them, maybe due to its intrinsic condition of perpetual movement.
We might understand the biomorphic shapes first developed on stickers as a starting point for his currents productions on all kinds of supports: painting on aluminum, wall painting, sculpture, paper, ready-made objects, clothes and even the skin. On a technical level, his painting departs from a generative nucleus that might recall his original stickers, where the patterns grow and keep on expanding themselves, taking in their way all kind of images, conquering all kind of media; emulating, thus, the same faculty the sticker offers, making possible the viral condition of his creative process, as well as its power to reach all kind of artistic, social or cultural field. In this occasion, Jean-Luc Moerman will be showing his latest works of painting on aluminum, following an aesthetics already peculiar to him, with dynamical and almost organic figures. Also, he will develop his work at the gallery’s space itself, through a wall painting designed ad hoc. Finally, he will also be showing his latest works of appropriated cuttings from the media. Starting from pre-existing images of different contexts, Jean-Luc Moerman tattoos images of political figures, popular character, celebrities, art historical works and industrial objects alike. The audience is in front of religious or mythical characters by some of the classical masters like Rubens or Botticelli, and at the same time in front of images from contemporary popular and mass culture like Che Guevara, Christiano Rolando or Charlize Theron among others. These works are probably where the artist’s most critical personality appears, playing on a background close to caricature. Moerman brings together icons from diverse contexts, carrying different symbolical meanings, to set them back into a new reality, the same one for all ofthem, only considering their condition as public images.
Following this same narrative, Moerman will also be showing some of his most representative sculptures, like “Spiritual Tool”, baseball bats with a face of Jesus Christ on its top, as a religious weapon; “Christ”, a tattooed representation of crucified Christ, or “Lucy”, his particular representation of the most ancient hominid ever found. These sculptural works, as well as the bi-dimensional works, try to point out conceptually to oneness of human history.