Tape machine #3 (Natural harmony), 2023. Scagliola (plaster), pigments, oil. 43 x 37 cm.

Upcoming:

Generation Brussels, Brussels Gallery Weekend, Belgium. Curated by Sam Steverlynck. 7-10 September 2023.

More*, Spaceless Gallery at Bergdorf Goodman, NYC, USA, 6 September - 22 October 2023.

Villa Filanda Antonini Residency, Treviso, Italy, October 2023.

Institute of Classical Art and Architecture Conference, Aiken-Rhett House, Charleston, USA, 3-26 November 2023.

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Scrying machine, 2023. Scagliola (plaster), pigments, oil, alabaster, metal, concrete. 35 x 40 x 10 cm.

7” (20 July 2023, Brussels), 2023. Scagliola (plaster), pigments, oil, amethyst. 25 x 21 x 9 cm.

Interview with Andy Furniere, Bruzz, 6 September 2023. Photo Ivan Put.

https://www.brusselstimes.com/belgium/802663/art-and-events-in-brussels-7

Tape machine #1 (Country song / Nowhere song), 2023. Scagliola (plaster), pigments, oil, alabaster. 38 x 34 cm.

Exhibition reviews, The Brussels Times, 18 November 2023.

Nature morte (La cristallisation selon G.), 2022. Scagliola (plaster), pigments, oil, metal, print on aluminium dibond. 35 x 35 x 40 cm. Collection Galila's POC.

Still life (A volume with six sides), 2022. Scagliola (plaster), pigments, oil, metal. 50 x 50 x 85 cm.

Nature morte (La disparition de l'objet), 2021. Scagliola (plaster), pigments, oil, metal. 45 x 45 x 85 cm. Collection FRAC PACA.

Crystallisation #1, 2022. Scagliola (plaster), pigments, oil. 52 x 37 cm.

Holiday, 2022. Scagliola (plaster), pigments, oil. 50 x 98 cm.

Plan for an equestrian statue, 2021. Scagliola (plaster), pigments, oil. 15.5 x 24 cm.

Box with cathedral façade, 2021. Scagliola (plaster), pigments, oil. 14 x 18 x 21 cm.

Mineral lekythos (purple), 2022. Scagliola (plaster), pigments, oil. 12 x 12 x 36 cm.

Room with mirror, 2021. Scagliola (plaster), pigments, oil monotype. 18.5 x 24 cm.

Notebook of A., 2018. English. Risograph printed, 60 pages. 18 x 12 cm. Published by L'Opuscule. Presented at Tramway, Glasgow at the Future Currents conference organised by The Doing Group.

EN:

Lucian Moriyama (born Honolulu, 1991) is an artist and writer. He studied at the University of Glasgow and the Beaux-Arts de Marseille, where he received the Prix François Bret, as well as the Prix du Tricentenaire from the Académie des sciences, lettres, et arts de Marseille. He has presented his works at Manifesta 13, Art-O-Rama, and Generation Brussels and has participated in conferences at Tramway and Mucem. He has been a resident at the Villa Filanda Antonini, the Villa Empain, and the Collection Lambert.

Lucian Moriyama revisits cultural and material histories, excavating utopian forms and exotic fantasies. Artifice and fiction emerge as central themes in his works exploring the lacunae and exotica of art history, architecture, and music.

His ongoing still life series appropriates scagliola, a plaster-based technique imitating marble which was widely used in baroque palaces, World’s Fairs, and colonial exhibitions. In realising these poetic works, he creates original subtexts: imaginary geologies, forged photographs and fragments, fictional books, and tragicomic songs, exploring the interplay between real and fiction, the ideal and its tragic double.


FR:

Lucian Moriyama (né à Honolulu en 1991) est artiste et écrivain. Il a étudié à l’Université de Glasgow et aux Beaux-Arts de Marseille, où il a été lauréat du Prix François Bret, et aussi du Prix du Tricentenaire de l’Académie des sciences, lettres, et arts de Marseille. Il a entre autres présenté ses œuvres à Manifesta 13, Art-O-Rama, et Generation Brussels, et a présenté des conférences à Tramway et au Mucem. Il a été résident à la Villa Filanda Antonini, la Villa Empain, et la Collection Lambert.

Lucian Moriyama revisite les histoires culturelles et matérielles, excavant les formes utopiques et les fantaisies exotiques. L’artifice et la fiction apparaissent comme des thèmes centraux dans ses œuvres qui explorent les lacunes et l’exotica de l’histoire de l’art, de l’architecture, et de la musique.

Sa série de natures mortes en cours s'approprie la scagliola, une technique à base de plâtre imitant le marbre, qui était largement utilisée dans les palais baroques et les expositions universelles et coloniales. En réalisant ces œuvres poétiques, il crée des sous-textes originaux : géologies imaginaires, photographies et fragments falsifiés, livres fictifs et chansons tragi-comiques, explorant l'interaction entre le réel et la fiction, l'idéal et son double tragique.