Filip Moszant

Born in 1987/FRANCE

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Filip Moszant work’s show intuitive defiance against the process of forming and socialisation. 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 unavoidability of natural processes taking place in a little boy, and also a sign of revolt against levelling 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 behavioural norms that actually are 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 addresse. The artist is in a way not affected by the entire burden of contemporary civilisation from which he has been escaping from throughout his life into the world of his work, expressed in unrestrained use of colour, drawn with markers 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…

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Because of the pressure put by contemporary culture on uniqueness it is becoming more and more cliched, losing its autenticity. The language of art, wich 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 a limbo letting them feel the space – to capture a moment 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 colours in his paintings. This is how the work is charged with a great deal of visual information that triggers in the adresse’s mind the ‘sens 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 visual creator just like writer "should not supply interpretations of his work; otherwise he would have not written a novel, wich is a machine generating interpretation…"
 

Leon Tarasewicz

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