Tell us a bit about yourself, your background and your work
I’m Mat, A Scottish Visual Artist based in Perth Scotland. I work part-time in sales and the other part of my day is focused on my art practice. After gaining an Honours degree in Contemporary Art and Contextualised practice from Perth university of Highlands and Islands I went on to do a post-grad In Teaching.
My work is primarily collage-based. I take inspiration from the world around me, odd incidences on a local walk, a late night advert to lyrics in a song. These are then abstracted from their context and combined to create a new narrative. In a general sense I have come to the understanding this is my visual way off organising the constant flow of stimuli we experience on a daily basis.
My Work is multi-disciplinary. I both traditional techniques such as drawing and oil paint as well as digital techniques such as photomanipulation and 3d modelling. I create everything from small paper artworks to large installations, sculptures and murals.
What set you off as an artist?
It was my Mum that got me set on my journey. After dropping out of high school I went back to college to eventually go to Uni to study philosophy and linguistics but after they changed the entry requirements, I ended up working a dead-end job. After a year or so of not going anywhere, she suggested applying to college to do something “fun”. I had always liked art at school but it was never framed as a career when I was younger so never put any effort into it. After my first day at art school, I was hooked and the rest as they say was history.
Tell us about the themes you pursue in your work
I never have a specific meaning to any of the work I create (or at least when the work is done I can’t say for confidence it symbolises love or the existentialism of post utopian life…). Rather I frame the start point of any idea or process and allow the work to develop naturally. The artwork may begin from a random Bus conversation or an advert in a magazine but by the end it has become its own thing. What underpins my work its my central interest the relationship between the traditional and the digital, in both the execution of the work and the conceptual implications. That idea of the rapid growth of technology and the traditional institutes and social practice we maintain.
What art do you most identify with? any specific influences or research areas?
I would say the work I most Identify with is urban contemporary art. However, the visual influences are all over the place, from Albert Oahlen to Micheal Reader, from Mauro C Martinez to Philip Pantone. I guess is the nature of collage art to cherry pick from a diverse pool.
My Go-to art answer whenever I was defending my work in university was always: my main research areas would be deeply embedded in philosophy and psychology. In particular the prevalence of postmodernism in western society and its impact on traditional moral and ethical development. Which in some part is true. Those research elements do align nicely with my work and they are an interest of mine but potentially best left for the class room.
To be honest my latest influence is social media. In particular the complete lack of hierarchy in content. You can be reading an article about the geopolitical issues in Europe then next seeing a cat in fancy dress, to your friend trying the latest flavour of crisps. It is that erratic ‘look at me’ content and its equality on social media that I find interesting to work with. In the end, I simply look for a springboard into a work. I often find my influences and inspiration come from general life. I am unsure why they interest me but I leave the why out and just make the work.
Is there something you couldn't live without in your studio? What is your most essential tool?
I would find it hard not to live in my studio as my studio is my flat… I have never had what you would call a proper studio. Instead, the environment I create within is flat-pack. This mainly to keep my partner believing that it is foremost our family home and not my two bed art studio. Everything is carefully placed around the flat; painting boards hidden behind the fridge, paintings tucked under the couch and spray paints disguised on top of kitchen cupboards. After some years of working this way I have create systems to allow for more productivity. Materials and works that are used more often are easy to retrieve while less used art paraphernalia is hidden in the corners.
In terms of tools I use most often the top spot would have to go to my laptop, with 90% of the work I make starting in photoshop. I do sometimes start with a sketch but most of the time its easier to see if something is going to work through a quick digital mock-up. Aside from my laptop, masking tape, matte medium and an exacto knife are never out of arms reach.
Tell us how you organise, plan, and prioritise your work
As my practice leans towards processed based artwork the only time work is prioritised is when there is a deadline. Aside from that, the work is allowed to grow and be finished when I am interested in it and when it seems the conversation between me and the work is over. I have some artworks which are still ongoing two years later and some that are completed in days. At present, there is around 30 artworks in some stage of completion.
However, I do plan. My ideas, inventory, and exhibitions are all meticulously documented. I think the only thing that is allowed to be free and left to develop in its own time is the work itself.
How do you navigate the art world?
I use to think the art world was a place where as soon as you got a degree and had some good work every exhibition would want you. As we all know that isn’t true. In truth, the art world is still an enigma to me. Each interaction with the mysterious art world is like a stepping stone and in many ways I am still at the beginning of my journey. I do have a huge shout out to my former lecturers Lada Wilson and Yunior Aguiar Perdomo for their continued support and guidance since graduating (basically making the art world a little easy to navigate).
Describe the trajectory of your career as an artist so far
I have had some big milestones in my practice to date. From Exhibiting in the prestigious Royal Scottish Academy to selling work around the world, to working with Culture PK on a huge public commission. In between these highlights I have continued to follow the ideas I find interesting and create the work I would want to see in an exhibition. I have maintained a drive throughout my practice which still keeps me going when it feels like no one is watching.
Professionally, what is your goal?
I have some loose goals which are quickly typed on a word document somewhere on my laptop. I think for me I focus on the work and research the right context for that work. That seems to always be my goal. That being said I take each opportunity as it comes and is always on the lookout for the next adventure. For me, the main goal is to keep the work progressing. It will never be as good as the next piece but it has to be better than the last.
Are there any upcoming exhibitions or projects in the works?
There are a few potentially exhibitions and projects in the pipeline for 2022, including something interesting potentially happening in Japan... I am remaining realistically optimistic about these after the experiences of projects falling through throughout the pandemic. Put opportunities have a habit of turning up when you’re not looking for them.
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