Zoer
The use of a pseudonym comes from the desire to privilege the creation rather than the identity. As a Figurative painter, the acrylic and the oil are his favorite mediums; he uses them on canvas or on site-specific painting to question the future of industrial substances. Trained as a product designer, the study of the object has determined his plastic research: understanding their philosophy, their function, and their determination leads him to capture in painting their life and after-life. At the time of the materials used in the industry are thought to be recycled; at the time of accelerated consumption and when the obsolescence is programmed, he paints the decline of shapes and materials made by man. In a society defined by material possessions, what place and which future do we give to physical objects? From the portrait of objects to the trace question, his work tries to explore the inevitable resurgence of forms and matters.
It’s through the depiction of wrecks that Zoer explores this first state of transition and transformation. Through the prism of the automotive, embodying the complexity of the twenties century both in its technical constraints and its sociological impact, he memorizes the last reflection of the past that fades very quickly. In painting, he interprets the romanticism of these spaces in mutation where objects are left between the Providence’s hands; the sheet metal becomes nature again; the form becomes a stroke and the color burns. It’s the delicate dramaturgy of objects twilight that the artist expresses by a touch oscillating between rapidity and precision matched to an intense and light up color palette. Zoer wants to keep a mark of this industrial past designed around and by man.
In his most recent series, SUB, the idea is to explore pictorially all the acceptance of this prefix. His first researches lead him to depict submerged objects to fix them in the color pigment or to disrupt the traditional organization of the landscape. Usually reproduced according to a panoramic view, their submersion required the use of a diving view. The angular stability of the horizon is abandoned to prefer the extent of a plan and thus express the dilution of human creations. By adopting a descending perspective, the substances emboss; the reflections give a sculptural aspect to the shapes and materials; the boundaries between painting and bas-relief become thin. From the dream of the past to the sedimentation of the real, Zoer gives a different look at spaces, objects, and substances by detaching them from their functionality
