Spanning a wide variety of media, such as photography, drawings, and sculptures, Moulène's practice examines the relationship between systems and orders.
"[1] His interests include the "symbolic position of the author" and authorship; processes of production, repetition, and accumulation; labor and social space; and the intersection of advanced technology and contemporary material culture, among others.
[2] Moulène began studying art in 1972 at the Académie des Beaux-Arts in Versaille, where he became friends with the artist Michel Journiac.
[1] Moulène's work has been described as a self-reflective process of interrogation that generates variations; distresses order; and produces "certainty through negation.
"[1] Moulène organizes his works into categories and subcategories, establishing an ontological distinction for himself and indicating his processes of production and the rhetoric of the images.
For the work, Moulène collaborated with engineers from Aerospace Valley in France with expertise in formal optimization—when the form of an object is defined a process that identifies the "most efficient, least wasteful" solution within a set of variables.
"[13] Mark Bechtel notes that More Or Less Bone is "derived from a mutable relationship that is equivalent in all its variations by topological terms," telegraphing "limitless possibilities while seemingly remaining under absolute control.
Solo exhibitions of Moulène's works have been held at SculptureCenter, New York (2019); Miguel Abreu Gallery (2019, 2017, and 2014); Centre d'art contemporain, Delme (2018); Fondation d'enterprise Hermes, Brussels (2018); Secession, Vienna (2017); Centre Pompidou, Paris (2016-2017); Villa Medici, Rome (2015); Kunstverein Hannover (2014); Dia:Beacon, New York (2012); Carré d'art-Musée d'art contemporain, Nîmes (2009); Culturgest, Lisbon (2007); Musée du Louvre, Paris (2005); and Centre d'Art Contemporain de Genève (2003).