A visual artist with a specialisation in woodcut relief printmaking, where his work explores deep time and space, as witnessed through the past and the wild and remote. Let’s deep dive into Matthew’s background, inspiration, motivations and projects.
Tell us about your studio.
I work out of BRICKS studio in St Anne's in Bristol. It's a relatively new studio space, as the project only began around 2 years ago. It's an honour to be part of it right from the start. It's not just artists; we have small businesses such as mushroom growers and a record label, so the cross-pollination of different ideas is really interesting. Things are done differently here too which I love. For example, we have a sauna, and hopefully, we will have bee hives on the roof soon!
What’s your background?
Music, which really helps me in improvisation. I'm happy in an undefined state for long periods of time, rather than assessing work too soon and letting the judgement get in the way of exploration.
How do you find motivation?
I have to remove expectations, it's a trap. I need to be present when I'm making and thinking about the outcome is the opposite of that. Arthur Ashe said it better: “Start where you are, use what you have, do what you can.” I find it's the idea of what you want to do that will steal your motivation, as you might question if you can get there. If you simply just begin, then there is nowhere you need to get to.
What drives your work?
I'm motivated by the idea of making something better than the last thing I made, by evolving or refining my ideas. But also making is a method of calibrating myself emotionally, so in some ways I have to do it. I need to be creative – like it’s a food or necessary sustenance.
Where do you draw inspiration from?
Other artists. I'm amazed by what people do. Whenever I'm feeling uninspired, the most effective thing to counter that is for me to go and see other artists' work. Not just in the field of print but all visual arts. I love ceramics, sculpture and installations too. Also, there is a good chance you might find me at a Natural History Museum somewhere...
Which three colours could you not do without?
Well, there are two that I often gravitate towards without intending to – orange. From a burnt, earthy, rusty tone through to a warm sunset. And a sort of dirty azure blue. Saying that, I have been working fairly monotone recently!
How has your style or subject matter changed or developed?
I want my work to have one foot in either world. Not wholly abstract but not completely representational either. So that it has the ability to be interpreted by the viewer, a dialogue is then possible because it's not a fixed thing. So there is a plurality to it. That space in between definitely intrigues me. I'm working on pushing that further.
If you could choose one song from one album to reflect your work, what would it be, and why?
So many to choose from, but Paper Trails by the Darkside is a rich, textural soundscape that feels like it has one foot in either world. That song feels open to interpretation. That seems to fit.
What’s the best piece of advice you’ve ever received?
I often remind myself of Maya Angelou's sage advice: “You can’t use up creativity. The more you use, the more you have.”
Who inspires you?
Oh so many! In no particular order: Thomas Gosebruch's work always challenges and impresses me. Emma Stibbon's large-scale prints at her new exhibition at the Towner Gallery look amazing. Matthew Colaizzo's lunar-style landscapes fascinate me. Magdalena Abakanowicz, the Polish sculptor of familiar yet alien forms. Leonard Baskin and his Birdmen. So, so many.
If you could own one piece of artwork, what would it be?
I love the giant redwood slice of the 1300-year-old tree in the National History Museum, does that count as art? It does for me. It makes me think of all the things it lived through. I would also be partial to a giant David Nash tree stump portal, or perhaps a pot by the French ceramicist Pierre Bayle.
What are you currently working on and what’s next?
I'm working on the 2nd and 3rd prints in the triptych of 'In The Lines We Leave', which is currently in the Summer Print Show. And I'm showing my sculpture 'Ammon's Horn' at Wells Cathedral next month. The first sculpture I have exhibited, and the first 3D work I have shown. The piece is exploring ideas around deep time, so I'm really keen to see it in such an old building.
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