walker above the clouds) from 1817-1818 by the German romantic painter Caspar David Friedrich, now in the collection of
the Kunsthalle Hamburg.
On Friedrich’s painting, that is much smaller than Moravec’s one and that is one of the most representative paintings of the
Romantic era, we watch the back of a man on top of a mountain, looking at the fog and clouds beneath. The loneliness and
the futility of man against nature is the central theme of the painting. In Moravec’s painting we see the image of the back of a
woman standing next to what can be seen as a bed, mounted on a billboard construction, placed on top of a rock in the sea.
No longer the loneliness of the woman is the central theme, but the meaning of the image of the woman.
Benjamin Moravec - Le Royaume Part. V (Les Orphelins Volontaires), Deweer Gallery, Otegem, Belgium, 2014
About Benjamin Moravec
Concerned with the effects of media inundation, Benjamin Moravec questions the socially constructed values and images that permeate contemporary visual culture with his realist oil paintings of family life, pornography, and solitude. Our understanding of these issues, he believes, are increasingly shaped by advertising, the internet, and other elements of “The Media Machine,” rather than our own values and ideals. The media “tries to swallow us when we are young, and impose its opinions on us as we grow older,” Moravec says. Works such as Happy Together / Die Together (2008)—a juxtaposition of two billboards respectively depicting graphic sexuality and a blissful family seemingly on vacation—exemplify the picture-in-picture technique he commonly relies on to add layers of meaning and blur the line between reality and fiction.
French, b. 1977, Thiais, France, based in Nürnberg, Germany