Brought about during a time of tumult and inner conflict in the artist’s life, ‘The Beginning’ truly embodied the raw emotion that has come to define Jonathan’s art. These paintings served as the first examples of pop-art integration in his pieces, while also truly establishing his artistic style and format, each marked with his personalized signet. This signet, a ‘cross-faced’ sun, has been represented throughout consistently and has stood for the light and happiness in each of his pieces, no matter how emotionally dark and true (interestingly inspired by one drawn similarly on a postcard addressed to him by an adolescent relative). This collection marked the spark in that fire that now is John Muret’s artistry.


In an effort to coalesce the concepts and styles of the painters that had inspired him to begin painting in the first place, ‘Abimes Colores’ drew together the beauties that Jonathan found in the art of Keith Haring, Jean-Michel Basquiat, and Andy Warhol. The forms depicted broke from Swiss traditions of strict form and organization by employing the tools of asymmetric symmetry, beauty in the contrast of bold color, and most importantly character through emotion. These pieces bare resemblance to his earlier work, if only in his emotional condition that can be traced throughout them all. Although these resembled a grave and drastic transition in his artistic vision, it also marked the beginning of a progressive development in what we today can consider the style of ART MURET.


The following movement was intended to show not only the apparent shift that we encountered in John Muret’s art and influence, but also the distinct change the world
witnessed before and after the momentous US election of 2016.

This collection portrayed John Muret’s deep-seated fascination and respect for the figures that made up the period of dominant American Pop Culture, influences ranging from James Dean, Marilyn Monroe, all the way to more recent and business-savvy role models like Steve Jobs.

The transparency, each character lacking skin and flesh,was the manifestation of unpreparedness of humanity leading up to this time of profound change, while
the infiniteness of the starry backdrop intended to present the loneliness and confusion felt by the
populace during the depicted period.


Fin D’Automne, which in translation means ‘End of Fall’, was brought about by the expressive darkness of the cold and isolation that John Muret feels during the Winter months, as the change
of the season typically signifies a series of days, weeks, and months spent in utter inner and outer isolation. These periods of the year are typically marked by a physical and metaphorical closing
of John’s shutters as, just like an animal would hibernate during the Winter, he closes himself off entirely, cleaning his life of meaningless and disruptive social interactions, only leaving his cave to return with new paint and canvases, dedicating all his time, mind, and soul to creation. Brought into being in 2017, this period has been his most recent, representing and embodying contents of John’s developments of late.


 Using solely water-based colors allowed John Muret to further define and perfect his technique, while also granting him a certain immediacy of production. Being able to act without hesitation and complete a piece within a given timeframe offered John the ability of maintaining the state of mind during which the initial idea was originated

The flexibility of this style also gave John the chance to dedicate pieces to important figures of
our time , such as the portrait of his good friend and cinematographic mentor
Hiroki Kubo, a Japanese film-critic living in Paris.

Most importantly, however, the application of aquarelle enabled John to maintain a sense of continuity and flow of
constant creations, particularly during his travels, effortlessly capturing the moments and
influence that grew dear to him at the time.