David Moraton

Since I can remember, I have been able to see colours while hearing sounds and music. This is a perceptual condition called synaesthesia and it deeply influences my works. During the last years, I have created videos that reflect visually what I hear, from Contemporary Classical music pieces to sounds of Nature. One of them,  “Visus Sonitus I” , based on the “Concert for Birds and Orchestra” by acclaimed composer Einojuhani Rautavaara, was shortlisted for the Lumen Prize in 2015.

These days I am more involved with real time videos, digital painting performances  where my own  digital pen data and different sounds or pieces of music are converted into painting strokes in a digital canvas, with the help of  customised software tools. Also I am returning to traditional media like drawing, which in a way seems to align to this need of direct relationship with the work, away from careful planning and technical workflow involved in previous videos.

In general, with my art I try to go beyond mental categories, to access an augmented state of consciousness where opposite concepts and different types of perceptions blend. Each of my works is conceived then to raise a global sense of empathy and awareness not only with the  pure sensations living here and now, but also, on a much wider perspective,  with the micro or macro structures and forces of Nature, in constant motion and quest for balance. From the early works and in some videos this fascination, that resonates with the echoing wave of the Sublime,  is clearly felt:   from  spiral forces shaping clouds, tornadoes, hurricanes or galaxies, to fractals, branches or birds flocks.

Being an awarded professional in the film industry for more than 10 years has helped me tremendously on the technical side to develop my own tools for video art.  I have helped developing visual effects for movies such as Man of Steel, Avatar: The Way of Water or Avengers: Infinity Wars.