Saturday, October 6, 2012

SARAH MATTES


Groan Alone, 2011, paper, mutex, wood, acrylic paint, 21" x 18" x 6"






Groan Alone (side view), 2011, paper, mutex, wood, acrylic paint, 21" x 18" x 6"







Great Comfort for Shy Men, 2011, wood, paper, cloth, string, glue, acrylic paint, 24 1/2" x 16" x 4"








Air in the Street, 2011, wood, paper, tape, plastic, acrylic paint, 15" x 6.5" x 7"







Smoke, 2012, steel wire, gel paper, mutex, wood, acrylic paint, 36" x 13" x 12"








The Perfect Man, 2011, wood, paper, acrylic paint, glue, tape, nails










Blanker Than Blue Light, 2011, wood, paper, glue, acrylic paint, 13 1/2" x 9" x 8"



The work of Sarah Mattes is a good find that I came across recently. It's not just the fact that I find it visually pleasing, but also the way the titles have been assigned. The naming convention actually describes how the pieces interact with space and the elements. Those references to air and light are relevant to the body of work. Color-filled reflections and cast shadows seem to cartwheel around the forms while air goes right through them -- and some do seem lighter than air.






They Say Nothing, 2012
wood, mdf, vinyl tiles, canvas, fabric, hydrocal, acrylic polymer, wire, acrylic paint, glue
53" x 27" x 37"



Sarah's newest work involves sculptural, floor-based pieces with a verve of their own. There's a combination of tighter, formal composition with a certain looseness that I appreciate. Color and evidence of paint-handling also play an essential part in them, and that keeps them from seeming too cool and detached. Be sure to check the link below for more gems that can be found there.

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