Filip Moszant

Born in 1987/FRANCE

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Filip Moszant's works show intuitive defiance against the process of forming and socialization. It is revealed in childhood during classes, when the reality of the classroom perceived with senses changes into visual abstraction, drawn with markers. This is the manifestation of the unavoidability of natural processes taking place in a little boy, and also a sign of revolt against leveling an individual out to ‘one and only approved’ model. This rebellion results from an internal imperative to create that makes you think outside the box, and transgress social or behavioral norms that are actually an insult to humanity and to one of the key values in the world, i.e. freedom…

 

Over time Moszant has established his own unique painting language which he uses to communicate with the world. Just like primitive creators of cave paintings in Lascaux and Altamira, he intuitively finds his own means and ways of communicating with the addressee. The artist is in a way not affected by the entire burden of contemporary civilization from which he has been escaping throughout his life into the world of his work, expressed in unrestrained use of colors, drawn with markers and transferred into digital printouts. As a result, in spite of being recognizable, this painting language obviously escapes any particular description. It avoids imitativeness and becomes authentic in its uniqueness, which is an unquestionable value added of his works…

 

Because of the pressure put by contemporary culture on uniqueness it is becoming more and more clichéd, losing its authenticity. The language of art, which is among others to reflect reality, seems to be losing the most because of that of the contemporary world

 

Filip Moszant wants his works to allow the spectator to experience a moment of limbo letting them feel the space – to capture a moment of non-linear thinking. In order to achieve the intended effect during the act of creation, he introduces something that could be called the ‘intensity of his persona’. He does that both by spontaneous selection and detailed arrangement of colors in his paintings. This is how the work is charged with a great deal of visual information that triggers in the audience’s mind the ‘sense of joyful disorientation’

 

But Moszant does not guide the spectator towards any particular interpretation of his work. He claims quoting Umberto Eco’s words, that a visual creator just like a writer "should not supply interpretations of his work; otherwise he would not have written a novel, which is a machine generating interpretation…"

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Leon Tarasewicz