Polygonal Lasso: MOMO & Jeroen Erosie | Delimbo Sevilla

MOMO

San Francisco, USA, 1974

MOMO is an American artist who began his experimental outdoor work in the late 90s, working with homemade tools and borrowed public space. Ten years of free ranging projects, centered around adapted masonry techniques, strategies based on collage, computer code, and seriality, came to form the basis of his visual language.

This language finds it's expression in paint, on commissioned walls and studio work from 2009 to the present day. Notable mural commissions include those from Facebook, Pepsi, the NFL, the World Trade Center, John Hancock Tower, Art Production Fund NY, European Capital of Culture, the NYC DOT, and Yohji Yamamoto's Y-3. However, self organized walls in Jamaica, Sicily, and Arizona (2013, 2016, 2018), painted at the artists expense, have been important in demonstrating innovative techniques for a general audience free of the usual commercial concerns.

Momo about Jeroen Erosie´s work

Jeroen has been one of those people who's work I've believed in for ages, no matter what artistic direction - and there's been a few, in such an expanse of time. He's always pushing into new areas with dazzling skill and sensitivity and plenty of wit. From the bicycle graffitis to the most recent severe flat-color multi story murals to messy carved-up studio paintings. There's a depth of language that I feel I recognize, it feels hard-won, earned, but with the grace and agility of dance.

Jeroen Erosie

Netherlands, 1976

Jeroen Erosie’s practice originates from the fluidity and restless process of graffiti lettering. This discipline - where lines, letters and shapes evolve gradually and almost imperceptibly towards unpredictable results - has been such at the core of his production it leaves a unique mark on all of his practice. His canvases, drawings and collages appear like a paused instant in a restless dynamic, a continuous morphing and superimposition of shapes, lines and textures. Jeroen Erosie’s work reflects a poetic journey of rounded forms and geometric lines, a language that channels the natural landscapes of his endless bike rides as much as the architectural observations of the city’s forgotten spaces and cultural symbols. On a more subliminal level this research reflects a need to visually translate his personal thought processes through an iterative approach, almost like searching for a personal ideographic vocabulary. A rare balance, where very physical and intuitive gestures are mixed with an extremely methodic process of creation, reinterpretation and relentless research.

Jeroen Erosie about Momo’s work

I've been wanting to work with MOMO for a long time...we've been in touch now and then for ages, from the early days of both our urban interventions to today, where we'll join forces in our show Polygonal Lasso. 

I'm thrilled every time he shows something new, there aren't many people that swiftly combine extreme visual skills with thoughtful, conceptual execution, it seems with him there is simply no separation between the two. Every time he comes up with a new project, painting or mural you're in for a treat, seemingly stepping up his personal game, a very characteristic approach, a true inspiration.

I'm extremely happy to work with him for this show. 

With the title Polygonal Lasso we like to emphasize our playful approach, referring to both our tools of execution but also hinting to the ambiguous relation with today's virtual world in which we all work, and, until this day, the only place where we met...so far.