The iconography of everyday objects is a focus of Zoer’s paintings. Ubiquitous in pictorial tradition, manufactured goods have been interpreted in different ways throughout art history in the 20th century. Zoer selects abandoned objects that invade public space and reinterprets them through his unique painting. Hence, he presents piled and debilitated objects, representing a transition space between still life and landscape, images that reflect the weakness of a society with disproportionate needs.
“La Forme” is a project in which Zoer represents fabrics and clothes discolored and washed over time, and contrapose them with man-made and industrial elements. Hence, car bodies and pottery enter into resonance and claim the contextual nature of everyday objects. By exploring the details of these altered elements, the artist plays with time and space, and defines a language in which the chaos of the pictured scenes is paradoxically balanced by the accurate depiction of the objects.
Questioning the form is at the heart of Zoer’s pictorial issues. Trained as a product designer, in this project he rediscovers how the form is a notion that defines what humankind devised, modelled and transformed. Thus, the form is the first sensorial vector. In these works, the forms are defined by the spontaneity of treatment and a tendency towards abstraction. Zoer gives these forms new destiny to approach “real” under a different lens: the possibility of a new abstraction.