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PAST RESIDENCY

Influx [impuls]

As an artist, Mathias opts to work intuitively-which rarely found in contemporary artist- as contemporary artworks frequently indicate narrative or representation- based content. Nevertheless, contemporary artworks have to be conspicuous to draw attention. In contradictory, Mathias’ work is simplistic and presenting no difficulty. Through explorations, he instigates to drip a specific blue-colored ink in the yellowish paper surface. The ink deliberately spilled and dripped in the surface and created a stain- which resembled trees in a sense. Images of blue-colored trees in an old paper texture pave the way to imaginary space whereas landscape became pure, calming and gentle. The works are effective as a tranquilizer to nowadays society, to soothe the spectator’s from their occupied life and the complexity of visual culture in the digital age. A simpleness becomes the focus of interest. Mathias’ work has the power to attract us to delve into calmness and solitude. It was simply what seemed sensible for him to create this kind of work, as it was stated in his artist statement: “The matter is autonomous. There is no manipulation-nor absence, no representation. What lies beneath is just a mere presentation of the matter itself. The presence of images shows that the hand is in the creation of process-without showing a motion; it withdraws and forfeits. To be able to paint without making use of a brush or any other tools-only hands, which guide the matters and pouring out the energy. Fluidity, absorption, and overflows” What has been said by Mathias pointed to an idea of “truth to the material,” which resembles a proposition in Modernism and Formalism. It is alleged that material is favored and considered as important in artworks. Given Mathias’ works, paper and ink perform their original character. Even so, the work is more than to display the essence and character of materials, and notwithstanding the proposition to formalism. Mathias’ method of work does not search the dialectic essence as the formalists do, nor need thorough advocacy of art theory and discourse. But in spite of that, his work is free from the theory co-optation.