IN CONVERSATION - IGOR MORITZ

The current group exhibition ‘Trust in Mortals’ explores the complexities of the human experience through the eyes of four meticulous and uniquely different observers; from Harms’ steel-like relationships to his subjects and Moritz’s immersive empathy, to the technical constructs of Robles de Medina’s seemingly emblematic paintings and Touborg’s near-futuristic investigations into the relationship between humankind, nature and technology.

To gain some valuable insight into Moritz practice and to get his thoughts on the exhibition, we asked a few questions.


The exhibition explores the complexities of the human experience on both a macro and micro level; where do you feel your work fits on this spectrum?

I think my works aim to talk about the macro by delving deep into the micro.

How important do you think narrative and context is to the perception of your work?

I never start a painting with any given narrative in mind. However, It may become a great tool I use to resolve certain formal problems. For instance the direction of gaze of a figure. Here it might be useful for me to ask myself ‘what are they doing there and why?’. But I hope these questions are left internal, and don’t become the subjects of the paintings.

As for the context. If in mind we are talking about the context for any given work i.e when was it painted, why was it painted, who is the subject in the paintings and where they are located; and not the grand context of art history as a whole. I think these things can enrich the viewing of painting but are not essential to be known.

Is there a work from another artist in the exhibition that resonates with you and if so, how?

The work Das MAMONBÖSE ist bösche by Bendix Harms struck a chord with me. A work that is screaming with two polarized feelings. Harms's unconditional love for his cat Mamon and his hatred for its actions. To me the Evil is almost a separate agent and force, to the victim that is the Bird and Mamon the oppressor. In this painting the means are the ends. The scratching of the black paint to unleash the toxic yellows and pinks is the embodiment of the instinct or evil. Feels a bit like a death metal version of Picasso’s 1939 ‘Cat Catching a Bird ‘.

Should we put our trust in mortals?

We shouldn’t put our trust in anyone, especially not mortals.