His work moves in multidisciplinary and addresses from installation and sculpture to photocollage, painting and 3D animation. His eclecticism deepens the intrinsic characteristics of the materials and media in which he works: from the conservationist and insulating nature of the resin, as time capsules, contrasting its transparency and brightness to its relic character, as well as the chromatic density of detergents and everyday products based on their volume and liquidity. As for the digital work, he is interested in its fully artificial character, usually ephemeral in that it is lost in the archeology of the network, and in the flatness of the pixel and the LED screen.
The thematic bulk of his work revolves around four fundamental pillars: life (and as a consequence, death), sex as the original phenomenon of life, the influence of science and technology in contemporary society as well as the configuration of social relations. Moratiel drinks from the artistic and anthropological record of universal cultures, their myths and beliefs, to configure a reflexive network of allegories to the origins of human concerns. All of them, proposed from a very personal point of view, marked by traumatic experiences in an easy childhood, such as the double separation of their parents and the premature death of their then girlfriend Carlota.
Thus, one could speak of his practical and theoretical work as a stratification of concepts that are entering the reflection on the consequences of scientific, historical, technological and social influence in that entelechy that is Human. For example, in some of its amber pieces, thousands of dead bees participate as a result of pesticides and global warming. Far from being limited to the environmental problem that characterises our era – and in particular the catastrophe of bees -, it shares with Aristotle, Hume or Manderville the metaphor between apicultural and human societies to delve into concepts such as the loss of identity and the individuality in favour of a mass report, the situational “hornet” in which we live or the dissolution of geopolitical borders. In addition, with these “encapsulated” in resin, it deepens both theoretically and practically on the exercise of the conservation of organic matter, (with all the biological interest that it may entail), a scientific practice but on many occasions (and this it is not a very different one) with what Mircea Elíade would identify as the religious interest of transcendence of the flesh. Not surprisingly, Jesu attached with these works a document by which authorises the international scientific community to use them under any circumstance of need for research purposes, whether biological, chemical, technological …
All this, which he calls the science fiction of contemporary art, is configured under a series of aesthetic guidelines that have their origin in his interest in nature and science, finding in his method a way to formally structure his work, which It is characterised by series organisation, and by repetition and classification. His work can be seen in several private collections and foundations such as La Gaceta de Salamanca or the Caja Duero Foundation, and he has worked with galleries such as Cerquone Projects (Madrid and Caracas), LA Studio (Madrid), or Gallery Red (Mallorca).
A Geopolitical Truth , 2019Dead bees because of climate change, transparent polyester resin, pigment, methacrylate, stainless steel. 163 x 230 x 10 cm The artist highlights the harsh reality that these hymenoptera insects suffer, the basis of the trophic chain for their role as angiosperm pollinating agents. It is estimated that 70% of the food crops we consume are pollinated by them, as well as the active ingredients of many medicines.
A Geopolitical Truth
Dead bees because of climate change, transparent polyester resin, pigment, methacrylate, stainless steel.
163 x 230 x 10 cm
The artist highlights the harsh reality that these hymenoptera insects suffer, the basis of the trophic chain for their role as angiosperm pollinating agents. It is estimated that 70% of the food crops we consume are pollinated by them, as well as the active ingredients of many medicines.
When empires fall down
SD memory stick, Wikipedia file, transparent polyester resin, pigment
20 x 10 x 10 cm
The origin of a thought
Dead bees because of climate change, flower, transparent polyester resin, pigment, stainless steel
150 x 99 cm
Chicken foetus, transparent polyester resin, pigment, methacrylate, steel
45 x 85 x 5 cm
Chronicles of a massacre: hunger, war, plagues, deicide (or the death of hope)
Dead bees, transparent polyester resin, pigment, methacrylate, lacquered steel
Variable measures (70 x42 cm each)
One hundred years of solitude
One hundred chicken fetuses, transparent polyester resin, pigment, LED light stainless steel, glass.
100 x 100 cm
A violent scene in which nothing will ever happen
Lizard, dead bees, grapes, scalpels, carnivorous plants, mouse fetus, transparent polyester resin, methacrylate, stainless steel.
61 x 100 cm
A Bigmac of bees displayed in a golden triangle
Dead bees because of climate change, transparent polyester resin, pigment, methacrylate, stainless steel
200 x 124 x 4 cm
The project stages interspecies contact as a metaphor for the processes of relationship and communication between different organised communities. The performance introduces a new factor for the first time: a new community or culture to experimentally simulate a correlative social process and it aims to build bridges to several points of thought. On the one hand approaching people through a scientific and respectful staging of a wonderful world, a society with its own culture not so far from home. Thus, this project seeks for people to reflect on our role in the ecosystem, and draw conclusions about the care of biodiversity and respect for different living agents. Where is the balance between coexistence and exploitation of trophic relationships?
This project is configured as an exemplary message sent to ourselves and to future generations. The work is a marble tomb that takes inspiration from ancient mausoleums. It is built around a block of acrylic resin that contains a martyr of the contemporary era and that has a high relief decoration representing the main events of the History of mankind during the last century: Einstein and the development of quantum physics; World War II and atomic bomb of Hiroshima and Nagasaki; the fall of the Berlin Wall; the conquest of space and the arrival of man to the Moon; development of new technologies; World Trade Center and fall of the Twin Towers; development in medicine and biotechnology; environmental awareness; the fight against hunger and in- equality; Middle East conflict: migration and refugees.
This project is configured as a site-specific installation composed by several shelves with a thousand optical glass spheres. The image of a human fetus is engraved with laser in 3D inside each one of them, and the room is illuminated by LED light bands. articulated under the idea of alienation of life even before being conceived. The production of the spheres, which will be done industrially, goes hand in hand with the concept of standardisation of the individual. Through the repetition of these orbs and the bands of LED light influencing them, a liturgical and bewildering relationship is sought by the spectator within the installation. Sons of the hive highlights current philosophical issues such as social production, the conversion of the individual into a standardised entity based on labor and consumption practices, the dissolution of individuality in favour of a report and repetitive collective mass.
This project is a luminous installation for an open space. It is materialised as four structures, one inside another, with the shape of each of the stages of a human life. As time goes by, each phase will go off at the time that the average time these stages last. For example, the structure corresponding to the embryonic period will be turned off nine months after being turned on, the period corresponding to childhood will be turned off at twelve years, and so on. Inspired by the classic myth of Oedipus, and the Aristotelian principle of act and power, this project is an artistic philosophical reflection concerning the concept of time, and the evolution of life.
Follow Jesu Moratiel on Instagram@le.moratiel