According to Van Moerkerken, Paris serves as the bedrock of his oeuvre, flowing with inspiration. Even as a young boy, he traveled to the City of Light with his parents to attend exhibitions. Throughout the 1930s, he frequents the city to capture photographs and films, and to meet fellow artists. The vibrancy of the artist’s life, the freedom that permeates the city, and the colorful scenes of the terrains vagues on its outskirts all contribute to his fascination. In 1934, he first encounters surrealism through the Belgian film magazine Documents. The images of artists such as Man Ray and Giorgio de Chirico strike a chord within him. Van Moerkerken also aligns himself with the communist ideals of the surrealists. He enjoys being a part of leftist circles and detests anything that leans towards the right, is associated with Catholicism, or is fascist in nature. In 1947, he publishes his first photobook, “Reportages in Light and Shadow,” featuring a plethora of surrealistic works and portraits.
Van Moerkerken captures a multitude of female models with flawless skin and at times, expressionless or slightly fearful gazes. Desires and fantasies that unfold in the subconscious mind are themes that are intricately portrayed by surrealists. Van Moerkerken abstracts the female body into a sensual object, a fetish, much like the French surrealists. In his body of work and personal life, Van Moerkerken encounters numerous beautiful women; he even referred to himself as a “ladies’ man.” A play of light, darkness, and a keen eye for detail characterize his landscapes and cityscapes. Towards the late 1940s, his photography took on a more documentary style, evident in his later photo books Amsterdam (1957) and Girls of the Netherlands (1959). This blend of reportage and documentary can also be seen in his portraits of writers and artists, including Simon Vestdijk, E. du Perron, Bertolt Brecht, as well as Gerard Reve, W.F. Hermans, Carel Willink, Brassaï, and André Gide.
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