Lilith embodies a primordial, feminine, natural, and creative force, which Moras adopts as a symbol of the creative act itself: free, instinctive, experimental, and rebellious.On the other hand, the concept of the chunk—a fragment, remnant, or portion separated from a whole—evokes a process of decomposition, metamorphosis, and recomposition, often mediated by human intervention.It is precisely this process of separating and transforming matter that constitutes a foundational element of Moras’s artistic practice.

Through the use of oil, acrylic, and hybrid techniques, the artist composes his works from fragments: sections removed from the canvas, materials applied and then torn away, decalcomania leaving unpredictable painterly traces.This act of separation, both symbolic (like Lilith leaving the Garden of Eden) and material and structural, is also reflected in the formal composition of many works: canvases divided into sections, fragmented islands, compositions articulated through layered or disjointed planes and segments.​

The act of creating, breaking, and separating is also central to his more recent sculptural works, where canvas remnants and paint fragments are reworked and reassembled, giving rise to new forms. These works function as time capsules—stratifications of matter, memory, and color—marking the culmination of a cyclical and layered creative process. In the series presented, such as in one of the exhibited works, Where is the Sky (2021), plastic elements, acrylics, and other remnants of color or material are assembled to create a sculpture of a two-dimensional nature. Waste materials are thus regenerated in a cycle that reflects, with ecological sensitivity, on the waste and pollution resulting from certain products used in artistic production, while also finding new ways to repurpose them.​

Through color—both in its abstract and compositional function and in its mimesis of nature—Moras constructs a visual continuum, almost abstract and perpetually evolving. At times, animal figures or human presences emerge in these landscapes, like distant memories or visions arising from the artist’s unconscious, only to dissolve again into the canvas.​

The exhibition will feature approximately 50 works, including historical and recent pieces, arranged not chronologically but according to sometimes subjective associations or formal affinities. This creates an immersive and open journey, where connections between works arise fluidly and informally, much like in the artist’s creative process.​

Moras invites visitors to lose themselves in his universe of colors, forms, and fragments—to embark on a sensory and symbolic journey in search of Lilith, the central figure and foundational mother of the exhibition. Lilith acts as a guiding thread, weaving through and connecting the various rooms, guiding a quest for unity that, far from being lost, transforms and hides behind every fragment.

Text by Giulia Blasig