Mircea Moroianu was born on May 31st, 1981 in Bucharest, Romania. He graduated from the Foreign Language Engineering Faculty, German Department, of the Politehnica University in Bucharest, and has a Master’s Degree in Communication from the Faculty of Journalism. He currently works in the advertising industry. He is the lead guitar of OLIVER band, having released two rock LPs – “Poetry Pop” in 2008 and “Eros” in 2012.
He made his literary debut in 2014, with the novel “Descâlcitorul” (“The Untangler”). He concurrently published the online poetry book “Dezcâlcitorul” (“The Untangler”) on www.descalcitorul.ro. The same year, he published “Frumoasele dezechilibre” (The “Beautiful Disequilibriums”), his first printed book of poetry illustrated with his own drawings.
In 2016 he completed the scripts for the films “Marea Bălăneală” (“The Great Bălănel”) and “Fragile, Handle with Care” and for the plays “Super OK” and “Rockstar”, currently undergoing production.
The “emotion_html” drawings series explores the phenomenon of emotional standardization produced by the borrowing of the forms of expression from the digital world.
By definition, digital means an approximation of the real world. By extending that meaning, digital language and expressions are but altered approximations of real-life feelings. Facebook statuses or emoticons as online forms of expressing emotion insidiously induce a state of alienation, as they are mimetically adopted into the real emotional life. Ancestral feelings come to be shaped in the form of emoticons.
Expressing emotion in the virtual world as a user involves choosing from an array of preset feelings, which gradually come to standardize one’s inner self.
“feeling in love with Bogdan at McDonald’s”
“feeling fulfilled at City Mall”
“having a revelation with Alex at the seaside”
The characters of emotion_html find themselves in outstanding circumstances, sometimes even cliffhanger or surreal situations, with the very purpose to create a striking contrast against the lack of vigor of their expressions and the scarcity of their inner language.
The drawings are created by a “minimal effort” technique, this being, paradoxically, not a limitation, but a release. By breaking it down to its essence and by resorting rather to mind than to hand, the drawings do not describe the state of alienation, but induce it.