Moritz Kreul

THE FUTURE IS FLUID
Polystyrene, reflective film, aluminum
Each object 5x95x55 cm
[Edition of 4]

2019

In current times, nature can no longer be considered separate from human action. The boundaries between the two have dissolved, making it increasingly challenging to answer fundamental questions about our collective future. The certainty that once anchored stable worldviews now feels like a relic of the past. If we are to look to the future with optimism, we must redefine our relationship with nature—moving from an attitude of appropriation to one of dialogue and mutual respect.

In THE FUTURE IS FLUID, the viewer’s image merges with the reflection on a vertical water surface, creating an interplay of identity and perspective. This visual experience raises a profound question: who is approaching whom? The dynamic reflection, ever-shifting and elusive, reminds us that no moment or relationship is fixed. It invites us to reconsider our place in the natural world, not as separate observers but as integral participants.

As Bruno Latour aptly noted, "The modern constitution separated Nature and Society; we must now stitch them back together into a shared fabric." This artwork becomes a fluid metaphor for that stitching—a reminder that our futures are intertwined, and only by embracing this fluidity can we imagine a hopeful tomorrow.

THE FUTURE IS FLUID
Polystyrene, reflective film, aluminum
Each object 5x95x55 cm
[Edition of 4]

2019

[Buy]

In current times, nature can no longer be considered separate from human action. The boundaries between the two have dissolved, making it increasingly challenging to answer fundamental questions about our collective future. The certainty that once anchored stable worldviews now feels like a relic of the past. If we are to look to the future with optimism, we must redefine our relationship with nature—moving from an attitude of appropriation to one of dialogue and mutual respect.

In THE FUTURE IS FLUID, the viewer’s image merges with the reflection on a vertical water surface, creating an interplay of identity and perspective. This visual experience raises a profound question: who is approaching whom? The dynamic reflection, ever-shifting and elusive, reminds us that no moment or relationship is fixed. It invites us to reconsider our place in the natural world, not as separate observers but as integral participants.

As Bruno Latour aptly noted, "The modern constitution separated Nature and Society; we must now stitch them back together into a shared fabric." This artwork becomes a fluid metaphor for that stitching—a reminder that our futures are intertwined, and only by embracing this fluidity can we imagine a hopeful tomorrow.

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HOLIDAYLAND
Steel Installation, Glas,
Polystyrol, PLA, 3D Animation

2021

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CHNAGING TIMES
Hand blown glass, quartz sand
Objects approx. 20 x 5 x 5 cm
Installation view approx. 250 cm

A time lapse about changing realities. The poetic image of trying to hold on to time reveals how such an act inevitably alters reality.

CHNAGING TIMES
Hand blown glass, quartz sand
Objects approx. 20 x 5 x 5 cm
Installation view approx. 250 cm

A time lapse about changing realities. The poetic image of trying to hold on to time reveals how such an act inevitably alters reality.

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Votives are objects traditionally offered as symbolic sacrifices in the context of a vow or promise made to a higher power. They serve as written testimonies documenting the challenges and joys in the lives of individuals. Votive tablets tell stories of despair, faith, and hope, and are regarded as expressions of folk art deeply rooted in Christian tradition. The engraved inscriptions on these tablets and images reflect the distress and trust in God experienced by people. They offer insights into their spiritual needs and what stirred them internally.

From an art and cultural history perspective, the origins of votive tablet donations can be traced back to the 15th century. As expressions of religious devotion, these tablets embody a spirituality focused on Christian salvation. Drawing clear boundaries is challenging, yet votive offerings are revealed to be part of a ritual pilgrimage act.

In 1972, Lenz Kriss-Rettenbeck authored a foundational and comprehensive analysis of votive offerings, identifying four essential elements of votive tablets:
A vivid depiction of a supernatural power. A symbolic or pictorial representation of the person addressing this power. A sign describing the occasion or condition motivating the communication with the higher power. Written references to the events, circumstances, or intentions associated with the donation of the tablet.

VOTIVATION adopts these aspects and interprets them from a contemporary, forward-looking perspective. The inscription I SEE YOU AGING plays with dual meanings: on the one hand, it addresses the stark fear of visible aging prevalent among modern generations; on the other hand, it evokes the reassurance of not being alone. Visible aging is often perceived as failure, while accompanying someone through this process can be seen as an expression of deep trust and a life’s purpose. The work invites a poetic and personal shift in perspective, contrasting confidence with despair and reflecting on our own transience. What is deemed credible or significant from today’s viewpoint is left to the interpretation of the viewers.

The work has been produced in a limited edition of ten handcrafted pieces.

Votives are objects traditionally offered as symbolic sacrifices in the context of a vow or promise made to a higher power. They serve as written testimonies documenting the challenges and joys in the lives of individuals. Votive tablets tell stories of despair, faith, and hope, and are regarded as expressions of folk art deeply rooted in Christian tradition. The engraved inscriptions on these tablets and images reflect the distress and trust in God experienced by people. They offer insights into their spiritual needs and what stirred them internally.

From an art and cultural history perspective, the origins of votive tablet donations can be traced back to the 15th century. As expressions of religious devotion, these tablets embody a spirituality focused on Christian salvation. Drawing clear boundaries is challenging, yet votive offerings are revealed to be part of a ritual pilgrimage act.

In 1972, Lenz Kriss-Rettenbeck authored a foundational and comprehensive analysis of votive offerings, identifying four essential elements of votive tablets:
A vivid depiction of a supernatural power. A symbolic or pictorial representation of the person addressing this power. A sign describing the occasion or condition motivating the communication with the higher power. Written references to the events, circumstances, or intentions associated with the donation of the tablet.

VOTIVATION adopts these aspects and interprets them from a contemporary, forward-looking perspective. The inscription I SEE YOU AGING plays with dual meanings: on the one hand, it addresses the stark fear of visible aging prevalent among modern generations; on the other hand, it evokes the reassurance of not being alone. Visible aging is often perceived as failure, while accompanying someone through this process can be seen as an expression of deep trust and a life’s purpose. The work invites a poetic and personal shift in perspective, contrasting confidence with despair and reflecting on our own transience. What is deemed credible or significant from today’s viewpoint is left to the interpretation of the viewers.

The work has been produced in a limited edition of ten handcrafted pieces.

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Imprint

This is the online portfolio of Moritz Kreul.
Content may not be used without attribution.

Copyright: the shown works and this website are for information purposes only and may not be used for external purposes without the author's permission.
Disclaimer: Despite careful control of the content, no liability is assumed for the content of external links. The operators of the linked pages are solely responsible for their content.

Responsible for the content and design of this website: Moritz Kreul
Development: Matthias Planitzer

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Vimeo Video enables us to integrate content from the platform into our website.
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The use of Vimeo is based on your consent in accordance with Art. 6 para. 1 lit. a. GDPR and § 25 para. 1 TTDSG.We intend to transfer personal data to third countries outside the European Economic Area, in particular the USA. In cases where there is no adequacy decision by the European Commission (e.g. in the USA), we have agreed other suitable guarantees with the recipients of the data within the meaning of Art. 44 et seq. GDPR have been agreed. Unless otherwise stated, these are standard contractual clauses of the EU Commission in accordance with Implementing Decision (EU) 2021/914 of June 4, 2021. You can view a copy of these standard contractual clauses at https://eur-lex.europa.eu/legal-content/DE/TXT/HTML/?uri=CELEX:32021D0914&from=DE.

In addition, before such a third country transfer, we obtain your consent in accordance with Art. 49 para. 1 sentence 1 lit. a. GDPR, which you give via the consent in the Consent Manager (or other forms, registrations, etc.). We would like to point out that in the case of third country transfers, there may be risks that are unknown in detail (e.g. data processing by security authorities in the third country, the exact scope and consequences of which for you we do not know, over which we have no influence and of which you may not become aware).

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We intend to transfer personal data to third countries outside the European Economic Area, in particular the USA. In cases where there is no adequacy decision by the European Commission (e.g. in the USA), we have agreed other suitable guarantees with the recipients of the data within the meaning of Art. 44 et seq. GDPR have been agreed. Unless otherwise stated, these are standard contractual clauses of the EU Commission in accordance with Implementing Decision (EU) 2021/914 of June 4, 2021. You can view a copy of these standard contractual clauses at https://eur-lex.europa.eu/legal-content/DE/TXT/HTML/?uri=CELEX:32021D0914&from=DE.

In addition, before such a third country transfer, we obtain your consent in accordance with Art. 49 para. 1 sentence 1 lit. a. GDPR, which you give via the consent in the Consent Manager (or other forms, registrations, etc.). We would like to point out that in the case of third country transfers, there may be risks that are unknown in detail (e.g. data processing by security authorities in the third country, the exact scope and consequences of which for you we do not know, over which we have no influence and of which you may not become aware).

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The specific storage period of the processed data cannot be influenced by us, but is determined by Google Ireland Limited. Further information can be found in the privacy policy for Google Analytics: https://policies.google.com/privacy.