|LEAP OF FAITH 32 X 30 OIL ON CANVAS|
LINK TO CATALOG
A Tangled Web We Weave, D.Dominick Lombardi, Curator
|A Day in the Catskills, encaustic, encaustic from Mapping a Place at Susan Eley Fine Art, NYC|
|Journey, oil and pigment stick encaustic from Mapping a Place at Susan Eley Fine Art, NYC|
|Chanting, oil on paper encaustic from Mapping a Place at Susan Eley Fine Art, NYC|
|Brunswick E 13 14x14x2_oil on felt|
|Brunswick E 02 14x14oil on felt|
I stopped in and had a studio visit with artist Matthew Langley two weeks ago. We had a great time talking about his work, painting in general, materials, galleries, current exhibitions and life in general. The last time I wrote about Matthew's work was in 2009 on this blog."I've come across Matthew Langley's work on several blogs and enjoy looking at it on his website. One needs to spend some time with each piece as they reveal themselves over time-a mark here, a change in color and texture there. He incorporates a wonderful use of line -the grid, of course- with drawn lines of color and surface, along with a mindful use of the edge. I find the work playful with a rich painter's vocabulary." Blog post hereI wrote him after the visit:"After seeing the new work I think there has been a shift in your palette, the layering process and the attention to surface. Also the work seems to be more minimal at first glance but actually contains a quiet lushness. What would say are the changes in the last 5 years?"He responded:"I think all of what you wrote is true.I've become really interested in building the surfaces in a slightly different way lately. Earlier, I would build them in one broad color at a time. These days I'm far more likely to build the layers in multiple colors to allow the surface to slowly reveal that mark-making and paint action. I do find this approach adds to the lushness of the final work. I like that lushness, although it's not an end point.
I think the work is more minimal than it was 5 years ago - the concerns towards the graphic quality have changed. I'm more focused on he process of building the image and a bit less on the graphic punch.On top of all of the approaches and mark-making, I have started to develop a real fascination that the artwork must show the history of the making of the artwork as well. I have had some great and not so great success with this and it becomes something that continually pulls me back into the studio."
|Love Songs on the Radio in progress|
|From Across The Kitchen Table, in progress|
|Photo catches the blue light from the studio window|
|From studio window|
|Cooking rack with palette and tools|
|Something brewing on the side|