Today we’d like to introduce you to Matthew Wood.
Hi Matthew, so excited to have you on the platform. So, before we get into questions about your work-life, maybe you can bring our readers up to speed on your story and how you got to where you are today?
I began making art at the age of eight, mainly making drawings of my favorite toys and Star Wars characters. My parents recognized my enthusiasm for this newly found pastime and the art classes began. My artistic studies continued throughout my childhood, into high school, and beyond. In 2000 I received a BFA, in painting, from The Kansas City Art Institute and that Fall I moved to New York City to continue my artistic endeavors as a graduate student at NYU. During my almost ten years in New York, I was fortunate to take part in several exhibitions including my first major showing at the Lincoln Center for the Performing Arts. In 2009 I relocated to Los Angeles to continue my artistic career. While in LA I dabbled in several different art forms and creative activities including screenwriting, improv comedy, and acting while continuing to exhibit and create new work. Ultimately, the visual arts won out and I began working again full-time in my studio. Before moving back to Dallas after almost 25 years I had my first solo exhibition, Biomorphagrams: Difference in Repetition, in 2017 at the Union Gallery in downtown Los Angeles. Since my return to DFW, I’ve been in the studio full-time and am enjoying sharing my artwork with a new audience. In July I had my second solo exhibition, Biomorphagrams: A History of the Future, at The Umbrella Gallery in Deep Ellum. It’s exciting to back in Dallas and to continue making art among family and friends.
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
I’d say it’s been a relatively smooth road. Unlike a lot of creatives my parents have been amazingly supportive throughout my journey. Money’s always been a funny thing for artists… it comes and it goes. Some months you’re making money, others your not. Pretty standard. It takes a lot of discipline. Fiscal responsibility is something that’s important to anyone’s success. Perhaps my biggest challenge, other than being hard on myself “critically”, was dealing with the events of 9/11 two weeks into the second year of my graduate program at NYU. Ultimately, tensions settled and I decided to remain in New York to continue my professional career. Other challenges have been minimal compared to that… Mainly dealing with time management, finding studio space, and gallery representation. All in all, I’m extremely grateful to my family, teachers, patrons, friends, fellow artists, and all that have contributed to my artistic success.
Thanks for sharing that. So, maybe next you can tell us a bit more about your work?
I specialize in creating Biomorphagrams, which are multi-layered paper constructions that exist somewhere between two-dimensional paintings and three-dimensional sculptures. While in New York I started photographing pedestrians’ shadows and cutting out the shadow forms from the photos. Using these amebic shadow forms as templates I began making overlapping line drawings of said forms which resulted in “Jackson Pollock-like” overall linear compositions. I then started outlining complex forms within the drawings and cut them out using an x-acto knife. These cutouts became the foundation of a new form language that I named, Biomorphagrams. These forms are unique to my work and influenced by the rich history of figurative abstraction.
I also employ a few different types of vintage paper in my work. Most notably, an extremely rare colored paper from the 1960s called Chromrama. This particular product was manufactured for cut and paste layout artists before the advent of computers. I selected this paper not only for its incredible and rich color palette but because of how it was manufactured. Wet pigment, basically paint, was screen-printed onto a thin rag-paper base which resulted in this type of premium colored paper. As far as I know, I’m the only artist in the world using Chromarama as the main material in my work. Conceptually, I consider Chromarama paint. Therefore, I categorize my Biomorphagrams as paintings or painted sculptures.
I guess I’m most proud of being honest with myself and continuing to create work that speaks to the past and future of figurative art.
Do you have any advice for those just starting out?
One of the questions that resonated most over the years is, “What type of artist do you want to be?” At the time I was like, “What do you mean?”… thinking this to myself and not aloud of course. Looking back, this is a pretty profound question. There are infinite types of artists that create at all different levels. Art teachers, wedding photographers, chefs, ballet dancers, studio painters, and sculptors such as myself and the list goes on and on. So, I’d ask the same… “What type of artist do you want to be?”
Ultimately, be honest with yourself… If you want to make steady money, support a family, have “things” perhaps a career in the fine arts will tend to be more challenging. However, I know plenty of amazingly talented fine artists who use their skills in corporate settings and financially do very well.
My best advice would be to follow your bliss.
Contact Info:
- Email: dearwoody@gmail.com
- Website: artbywoody.com
- Instagram: woodymatthews
- Facebook: Matthew Wood
