Möe Piuze was born in Knowlton (Lac-Brome). A creative child and a teenager with a passion for everything, he now holds a master’s degree in visual and media arts. Over the years, he has presented his work in America and Europe, notably at the Musée d’art contemporain de Montréal (Canada), at the Art Museum of the National University of Bogotá (Colombia), at the Festival international d’art vidéo de Casablanca (Morocco) and more recently, at the Musée d’Art de Joliette (Canada).
When Möe Piuze defines himself as a researcher tinkerer—a reflection drawn from Lévi-Strauss’s definition of the tinkerer—he evokes above all the act of creating. He places the emphasis on “doing,” on a mode of creation in which the process holds an important place. The artist uses multiple types of materials, from the oldest, such as barn wood marked by time, to the most synthetic, such as Plexiglas, which sometimes covers the photographic parts of his works. He elaborates a new reality from the assembly of these different elements, while preserving the singularity of each. Shapes and colours seem to keep their autonomy, but together they tell a story. By their arrangement, he creates a dialogue. Moreover, the process lies at the border of therapeutics if one considers his work of assembly as an act of repair, of rebirth.
Digging, accumulating, recycling, Möe Piuze composes through pleasure, letting colours and materials translate his imagination. Three avenues of reflection form the keystone: the body, the habitat, and the landscape. Thus is evoked the reality of his creation, namely the interweaving of the human being with his environment.