2019 and 2020 clearly sets a return to the oil painting media that forged David Moraton as an artist, but empowered by all the creative advantages of digital technology he has been mastering through the past years. A clear representation of this is the 'Avia Pictura' series. While in his previous digital works long render times were needed to obtain a finished frame, for these new works the artist wanted an immediate visual feedback. That’s why for the last 4 years he has been deepening into coding in real time graphics to build his own oil painting simulator: a tool that converts instantaneously digital pen movements and sound waves into painting strokes, with physically correct colour mixing.
The sounds of “Avia Pictura” are recordings of 'Tui' birds from New Zealand, who truly become co-performers of the creative process, blending their colours with the ones Moraton has applied, with a sometimes destructive interaction, sometimes collaborative. Clearly continuing the synaesthetic path initiated by "Visus Sonitus I" (a visualisation of Rautavaara's Birds Concert for Birds and Orchestra, shortlisted in Lumen Prize 2015), this video sets though a different declaration of intention: it’s the immediacy and the performative process what he is interested in, how I react to his sensorial environment and how the environment influences the evolution of the work.
Being done in one take, with no cuts, edits or re-times, “Avia Pictura" videos are ultimately a very personal reflection, a work that embraces the process over the final result, with the meditative state and the ‘real time’ life connection that comes from it.
DrawingsThis is a new series of drawings David Moraton has been doing since last year, pure joy of shading unreal objects that evolve into existence without any former plan. Focusing on the process and not on the goal gives unexpected results. Creativity thrives where there is freedom to flow.
2011-2019These years set the consolidation of digital techniques as a main way of artistic expression. During that time as well David Moraton became a professional in the film industry ( working now as Lead FX Technical Director) , helping create visual effects for movies such as Man of Steel, Interstellar or Avengers: Infinity Wars. The skills and knowledge acquired in film post-production helped him to achieve many of his artistic dreams, like for example, the development of the synaesthetic videos he wanted to do for years but that seemed quite difficult at the time. One good representative of this is the video animation called "Visus Sonitus I", (shortlisted Lumen Prize 2015) based on the first movement of musical work "Cantus Arcticus" by Einojuhani Rautavaara, leading Finish Composer of our time (1928-2016). No doubt the highlight of this period is the meeting with the composer to show this work to him directly, in his house in Finland. Not only he loved it, but encouraged Moraton to continue.
2004-2010This period sets the transition to digital techniques, away from traditional painting.
Adding synaesthetic impressions to David Moraton's art has always been another way to contribute to his augmented concept of a reality were entities of different nature, in this case auditive and visual, blend. The source of these sounds that he visualises could be from Nature or could be from Classical Music, one of his greatest passions (Wagner, Bruckner, Sibelius, Mahler, Rachmaninov. ..)
But specially the discovery of contemporary works like "Cantus Arcticus/Concert for Birds and Orchestra" by Einojuhani Rautavaara made a crucial impact on the evolution of his art. Not only the actual sounds of birds of this concert ignited his mind with colors, but also Rautavaara's music was strangely resonating with his oceanic vision of a vibrating, mystical, unifying Nature. After this experience, Moraton became obsessed with visualising sounds, music, specially this music
So far his oils on canvas attempts to represent sounds were limited by the static nature of the painting media. There was no true representation of the real evolution of the music or the sound, no trace of the present moment, of what's sounding right now, so he had to introduce the time factor with a different media. That's why the artist started to devour video and 3D animation technical knowledge.