source: zupi

Jean-Luc Moerman nasceu em 1967, em Bruxelas, onde vive e trabalha até hoje. Desde 1998, vem desenvolvendo pinturas, esculturas, ilustrações, artes de rua e experimentos audiovisuais.

Em um de seus projetos, Moerman elabora intrincadas tatuagens sobre fotografias que encontra em revistas como Vogue, Rolling Stone e Playboy, além de reproduções de pinturas antigas. Barack Obama, Madonna, Audrey Hepburn, James Dean e Uma Thurman são algumas das figuras marcadas pela habilidosa caneta do belga
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source: artnet
Jean-Luc Moerman (Belgian, b. July 5, 1967) is a modern artist who takes the idea of body marking and body art and applies it to contemporary female and male icons. Using pen and ink, he transforms well-known photographs, making it appear that the subject is covered in tattoos. He has also applied the concept to recognizable buildings, creating what looks like graffiti on the subject. Moerman was born in Brussels, Belgium, and has spent his entire life in that country.

His work is typically black ink on paper in easily recognizable spiral patterns. He works in marker pens and acrylics, and the lines never vary. His desire is to create visual epiphytes, which are plants that grow from other plants. Moerman credits a 35-year fascination with the infinite possibilities of the line as inspiration for his artwork. His work has been lauded by some critics, while dismissed as elaborate doodles by others. His most famous collection to date is entitled Tattoo on Paper (2011). The work includes the fake tattoos on everything from early Renaissance and religious icons to modern stars, such as Audrey Hepburn and Madonna. The works unitize the subjects and make the viewer wonder about the picture’s reality. Moerman has said that he is inspired by body art and tattoos in general as a basis for his work. He has also applied his brand of doodling in black-and-white to vehicles. Moerman credits a fascination with religious fanaticism as the motivation behind some of his works. These works include baseball bats drawn to represent the bludgeoning attitude of fanatical believers in Christianity.

Moerman’s works evoke tattoo art, Islamic and Japanese calligraphy, and graffiti that tell the story of an ever-chaotic history of the world. The works are almost obsessive in their pattern, tradition, and contemporary artistry. His first solo show was in Germany at Galerie B.A. Mickan in 1995. Moerman has gone on to exhibit internationally in a wide spectrum of capacities. His works have been featured in numerous galleries, museums, and private collections, namely the Olbricht Collection in Berlin, La Maison Rouge in Paris, Musee D’Art Modern in Luxemburg, Musee d’Ixelles in Brussels, Musee des Beaux-Arts in Calais, MOCA in Shanghai, The Flag Art Foundation in New York City, and Vanhaerents Collection in Brussels.
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source: ivdenet

Jean-Luc Moerman works with marker pens and acrylics on an indiscriminate range of surfaces and objects to create visual epiphytes. In the way that epiphytic plants grow on other plants, deriving basic support from them, but not nutrition, Moerman’s elaborate drawings grow and spread virally on his chosen surfaces, in harmony with the image or object of which they are taking possession.

Compelled by the infinite possibilities of lines, planes and voids, Moerman has always granted himself the liberty to sprout up on almost anything. He began with stickers, putting them up all across Brussels, New York, and other cities he visited, and has gone on to spread his billowing networks of black lines indiscriminately over building facades, cars, robots, taxidermied animals and human bodies, as well as most recently on contemporary images of international supermodels and sports stars, and reproductions of classical masterpieces. All these surfaces, in varying degrees, have lent themselves to inspiring and shaping his evolving vision.

The core of Jean Luc Moerman’s artistic practice is draughtsmanship executed with utmost control, pronounced through investigations of Japanese calligraphy, tattooing and urban graffiti. While he is working, he does so purely and devotedly for the sake of the lines and curves he is laying down, in an obsessive investigation that crosses many disciplines and customs. Through the visual culture he accrues from these disciplines, he reminds 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.

Jean-Luc Moerman (b. 1967) lives and works in Brussels. Since his first solo show in Germany at Galerie B.A. Mickan in 1995, Moerman has gone on to exhibit internationally in a wide spectrum of capacities. His works have featured in numerous galleries, museums and private collections, namely the Olbricht Collection, Berlin; La Maison Rouge, Paris; Musee D’Art Modern, Luxemburg; Musee d’Ixelles, Brussels; Musee des Beaux-Arts, Calais; MOCA, Shanghai; The Flag Art Foundation, NYC; Vanhaerents Collection, Brussels. Additionally notable is his solo project at Art Unlimited, Art Basel in 2005, his participation in a number of biennials, public space and iconic façade projects, and his retrospectives at BPS22, Belgium and Leu Gallery, Munich. With two monographs published, ‘The Art of Jean-Luc Moerman’ features a key interview with Hans Ulrich Olbrist. In the last year alone he has had solo exhibitions in Brussels, Barcelona, Munich, Luxemburg, Korea and Venice and Dubai.