The American artist has always ventured off the beaten track. He developed his work through numerous journeys and discoveries, always keeping in touch with a wide range of traditions and practices of mural art. His work also carries a rather unusual legacy on the urban art scene: the influence of coding and generative art. For us to understand MOMO’s approach, we have to imagine it as this rolling stone artist traveling around the world with nothing but his backpack, painting watercolors to earn enough money to continue. We also need to understand everything he has inherited from digital culture, ranging from rave music to computer programming. He sees art both as an experimental process and as a way to get politically involved in the world. This is what makes her job so special. From the development of DIY tools for pictorial protocols to his subtle approach to color and composition, MOMO makes its own distinctive mark, even if we can perceive a certain link with optical art.
After Toulouse and Nancy, he still lacked a personal exhibition to bring the full extent of his originality to the French public. The “Parting Line” show therefore took place in Rouen, where MOMO presented a series of paintings and installations in situ.
MOMO painted no less than seven walls at Hangar 107. These installations allow visitors to navigate through many different styles and techniques that MOMO has experienced over the years. For the opening, the artist performed live with his largest “Ripcord wall” ever made, using a homemade machine, one of MOMO’s trademarks.
Forced to close following the coronavirus crisis, Hangar 107 made the exhibit available online. Check out more images of “Parting Line” by Julien Tragin below.
To see more of the exhibit, you can check out these links below.
Link to the virtual exhibition:
Link to the Ripcord video:
Link to Tape Reveal video: