I am Jesu Moratiel. Moratiel is my mother's surname. I am 27 years old. Right now I live between Madrid and Coruña. The reason is that I need a dose of big city and a dose of sea horizon to avoid flu. I like coffee, smells with personality and visual games. Electronic music is the new classical music, and this is the one that is above all. I like antiques and ciborgs in the same way. Lately I say a lot "the devil is in the details". A good artist is a professional in seeing like a child.
PIECE WITH ARTIST
APRIL 02, 2021. MADRID. SPAIN.
Tell us your story, how did you come to painting?
It all started when I was a baby. As a child I was a demon, a tornado condensed into a little person. My mother always told me that I was five children. Once we went for a walk, and I was in the baby seat trying to get out of it. I was very nervous and I always nagged her on walks. Once, we went into a shop, and the shop assistant, seeing that I was very unruly, gave me a notebook and a pen. At that moment I started to scribble like a beast, quietly, calmly. From then on, my mother tied my notebook and pen to the chair and when we went out I was concentrating on my artistic affairs, while she could do her errands. You know, since then, creating has been an almost therapeutic necessity for me.
How would you define your current painting?
The series of my digital paintings is called "Superfake paintings" which ironically refers to that old idea that something pictorial has to be done with brush and pigments. That is why superfake is ironic, because for me something very pictorial can be done with digital techniques, in the way that the pictorial has to be expressive. I specifically use 3D programmes and sometimes post-production. I usually like to leave the works in the rough, almost as if they were unfinished, I get the feeling that if I touch a work too much I screw it up. I think that the mistake, the accident, and the investigation with the textures are the best events when it comes to painting. That's where serendipity happens.
And about the themes, I have always been interested in people's deepest concerns, their desires, their passions, their fears... all mixed with an ironic and critical cut and with scientific and metaphysical concepts. The result is works with many readings, sometimes ambiguous, but actually they really work.
Tell us about your style and technique. Any secret that can be told?
They are not traditional paintings made with a brush and pigment, my paintings are printed, and I make a unique piece on canvas, a bit referring to traditional painting that cannot be reproduced twice. And then a very limited edition on paper. Although lately I'm thinking of starting to experiment with both brush painting and digital printing techniques. Besides, the models and all kinds of figures, also textures that appear in my works are not mine, I appropriate them. I download them all from the internet.
How do you usually start your paintings? With a sketch, a draft or is it just an improvisation?
I work with ideas and concepts. Everything begins with a stimulus, which can come from a film, a musical theme, a situation... almost anything. That stimulus rise to an idea. I always write down the idea as a note, a sentence or a tittle. I have an endless list on my mobile phone. It's already so big that I have several lists because I'm running out of space in my notebook. And above all I usually draw it as a quick sketch. From there I go over what is the best production process for that idea, how to make it coherent, so that it reaches the viewer, so that it has that part of mystery that all artworks must have... And I start producing it. And in the process of production, improvisation and randomness always occur, the fruit of chance, and I am very open to them, if they work, because when something happens in an organic way it always has to be taken into account, it makes everything more expressive.
What are your motivation forces? And the artists who have been and are an influence for you? Making art is something instinctive, more so than writing or speaking. You learn to speak, you learn to write, but you don't learn to look. Nor do you learn to express your feelings. Even animals do it with non-verbal language, with their gesture, with their postures. So I consider art to be a non-verbal language. Starting from that, my motivations are to keep expressing my grated feelings day by day. And of course, and as a maximum, to transcend within art.
What can you tell us about your studio, what kind of place is it?
I have my workshop and my computer and my mobile phone. Like everyone else, I am half material, half digital, and it happens the same thing with my spaces, and they are different from each other. My studio is like a laboratory, although not as clean. But similar things happen there, and it all has to do with material processes. My studio is my temple, a temple dedicated to my curiosities and the things I want to exist. There, time goes with a very diferent speed.
In my computer is all my cosmogony, my universe, my memories, my thoughts, my projects, my digital work, the photographs of my life and of my studio... everything I have been and all the projects of what I want to be.
What is art for you?
Art can be everything that produces a sensitive experience, and therefore, it is also a way of looking.
Photos by: Jesu Moratiel