![]() Louver, Venice, CAĢ010 Matt Wedel, Second Floor Marfa, Marfa, TXĢ010 Child flower tree landscape, L.A. ![]() Louver, Venice, CAĢ012 Figure, Skyroom, L.A. Louver, Venice, CAĢ013 Sheep's Head, L.A. Louver, Venice, CAĢ014 Flower Tree, Skyroom, L.A. Louver, Venice, CAĢ015 Matt Wedel, Erskine, Hall & Coe, London, United KingdomĢ014 Portrait, Skyroom, L.A. Louver, Venice, CAĢ015 Peaceable Fruit, L.A. Louver, Venice, CAĢ017 Matt Wedel, The Fields at Omi International Art Center, Ghent, NYĢ016 Matt Wedel, Skyroom, L.A. Louver, Venice, CA, 14 November 2018 - 5 January 2019Ģ018-19 Matt Wedel, Skyroom, L.A. To me, the sacred is the performance of understanding in the world.Ģ007 Master of Fine Arts, Ceramics, California State University, Long Beach, Long Beach, CAĢ005 Bachelor of Fine Arts, School of the Art Institute of Chicago, Chicago, ILĢ022-23 Matt Wedel: Phenomenal Debris, Toledo Museum of Art, Toledo, OH, 5 November 2022 - 2 April 2023 (catalogue)Ģ019 Matt Wedel: On the Verge, Louisiana State University (LSU) Museum of Art traveled to Wichita Falls Museum of Art, Wichita Falls, TXĢ018-19 Everything is everything, L.A. In many ways, I am searching for the things that have been lost and things that have not been found. When our minds display arraignments of images, there is the sense that it is trying to remind us of something lost and something to be found. the image is present on the floor or the image is present on the wall. What do we do with those visions? The creation of them is the attempt at declaring them as self and as a form of presence, i.e. It is a type of creation that attempts to eliminate the conditions which disrupt the act of looking, in order to find knowledge in the visions that populate our minds. It is not really about sculpture but about a dialog surrounding the evolutionary function of dreams, projected images, and the ability to depict them. My practice is a philosophical conversation with myself while acting on these ideas. The idea that a form or gesture can dictate the next action. ![]() The plant forms are about creating conditions which a form can unfold. The difference between the figurative work and my more organic plant forms is that the figures rarely shift away from the original vision or image and the plant forms change every time I look at them. The known-ness of the thing then becomes a process of understanding rather than something that is understood. It is the idea that the narratives exist to record rather than compose. They have become more about rendering an image that is seen, rather than composing an image that is already known. The process then just becomes about looking. The images quickly shifted from historical sources to internal images that I would see on walls, my floor or between things in my studio. Much of my figurative work is rooted in an earlier exploration of historical sources, which as a young artist was a way to build an understanding of representation. My art practice ends up as a map of those clues, tools, reminders, or declarations of an attempt at understanding. The mind offers clues to itself and what it means to be human. I am searching for clues through the images that I see, what consciousness is and what knowledge can be gained from its recording. ![]()
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