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Matthew Chambers // CV / Artist Info
To whom it may concern:
I’m proud to have the opportunity to exhibit these 16 paintings in this beautiful barn a mile from my home and studio.
Edward Abbey noted in his introduction to Desert Solitaire, “not imitation but evocation has been the goal.” His words and art cannot serve as the stand-in for the experience of being in the desert, their role is reminding you of the erogenous zone that is experience.
I can’t compete with the richness of experience the natural world provides; I just shine a conversational light on it with my art lantern. I talk about my “evocations” with my neighbors and visiting friends in between conversations about mountain lions, lightning strikes, and land usage. Hopefully giving the art the context and attention it deserves; its not what we remember but why.
All the paintings are 45 x 57 inches with the little frames I put them in. They’re made of canvas that I have ripped, rearranged, and redecorated. Some of the torn canvases were completed paintings that were destroyed, some were painted tapestries for local events, and some of the canvas is raw and unpainted. The processes and materials I use to “finish” the paintings comes from the skillsets, observations, questions, solutions, and aesthetics that rural living has opened for me.
Come visit or reach out, let’s talk.
Best wishes,
Matthew Chambers
Images and CV courtesy of Marinaro Gallery
< Home
To whom it may concern:
I’m proud to have the opportunity to exhibit these 16 paintings in this beautiful barn a mile from my home and studio.
Edward Abbey noted in his introduction to Desert Solitaire, “not imitation but evocation has been the goal.” His words and art cannot serve as the stand-in for the experience of being in the desert, their role is reminding you of the erogenous zone that is experience.
I can’t compete with the richness of experience the natural world provides; I just shine a conversational light on it with my art lantern. I talk about my “evocations” with my neighbors and visiting friends in between conversations about mountain lions, lightning strikes, and land usage. Hopefully giving the art the context and attention it deserves; its not what we remember but why.
All the paintings are 45 x 57 inches with the little frames I put them in. They’re made of canvas that I have ripped, rearranged, and redecorated. Some of the torn canvases were completed paintings that were destroyed, some were painted tapestries for local events, and some of the canvas is raw and unpainted. The processes and materials I use to “finish” the paintings comes from the skillsets, observations, questions, solutions, and aesthetics that rural living has opened for me.
Come visit or reach out, let’s talk.
Best wishes,
Matthew Chambers
Images and CV courtesy of Marinaro Gallery
< Home
Clock Time, 2020 Acrylic, enamel and flocking
I Sat Down To Await The Rising Of The Moon, 2020
Acrylic, enamel, and flocking
To Turn Precisely Into That Creature, 2020
Acrylic and oil paint
You Cannot See The Canyon In One View, 2020
Acrylic, enamel, and flocking
It Won’t Hurt To Take Off A Little Office Fat, 2020
Acrylic, fiber dye, and oil paint
I Walk The Mainstreet As Dazed As A Country Boy On His First Visit To Times Square, 2020
Oil, acrylic, fabric dye, enamel and flocking
If We Could Learn To Love Space As Deeply As We Are Obsessed With Time, 2020
Acrylic and latex
Stranger Than the Storms, Though Not As Symphonic, 2020
Acrylic, enamel and flocking
Abandoning Ourselves Once More, 2020
Oil, acrylic, and cold wax
In An Area Where Spuce + Fir Mingle With Quaking Aspen, A Shady Place, 2020
Acrylic
A Venturesome Minority Will Always Be Eager To Set Off On Their Own, Let Them Take The Risks, 2020
Oil, acrylic, fabric dye, enamel and flocking
From The Passangers Point Of View, 2020
Acrylic
Twilight is Over, Night Is Here, 2020
Oil, acrylic, and cold wax
Are Men No Better Than Sheep + Cattle, That They Must Live Always In View Of One Another In Order To Feel A Sense of Safety?, 2020
Oil, acrylic, and cold wax
A Futile Effort In The Long Run, But It Made Me Feel Good, 2020
Oil and acrylic
Neither A Souvenir Collector Nor An Archeologist, 2020 Acrylic
