The exploration of the dynamics of memory – how it is constituted, and the ways in which it is subjected to continuous processes of deformation and reformation – is Moritz’s recurring and prominent concern. Playing with repetition and difference on the canvas, Moritz confronts the viewer with uncertainty, questioning whether memory can ever be an unmediated representation of the past.
The artist uses an unconscious process during the creation of each work, resulting in what she calls a ‘fragmented beauty’. Sometimes tones clash and shapes collide; however, as in a symphony, each individual element in her paintings contributes to the harmony of the overall composition.
Described by Hans Ulrich Obrist as ‘memories made visual – the fleeting impulses of the past rendered concrete in art’, Moritz’s work may be interpreted, above all, as a protest against forgetting, while also depicting the inherent fragility, mutability and immateriality of memory.
