The Quiet Guns

The Quiet Guns

60"x19", oil on panel, 2014. SOLD

Rice Lake Le Corbusier

Rice Lake Le Corbusier

36"x48", acrylic on panel, 2014. SOLD

The Pivot

The Pivot

48"x24", oil on panel, 2014.

Darkness

Darkness

Scribs

Scribs

48"x48", oil on panel, 2014. SOLD

Black Mountain

Black Mountain

48"x24", oil on panel, 2013. SOLD

Huron

Huron

48"x24", acrylic and oil on panel, 2014. SOLD

The Grey Marshes

The Grey Marshes

24"x18", mixed media on panel, 2014. SOLD

The Budget Meeting

The Budget Meeting

48"x36"x acrylic on panel, 2014. SOLD

Prarie Ghosts

Prarie Ghosts

48"x6", oil on panel, 2014. SOLD

Pinky

Pinky

24"x24", oil on panel, 2014. SOLD

Night Cloud

Night Cloud

48"x24", oil on panel, 2014. SOLD

Nature By Car

Nature By Car

24"x16", acrylic on panel, 2014. SOLD

Chipped Sky

Chipped Sky

24"x20", mixed media on panel, 2014. SOLD

Cloud Gardens

Cloud Gardens

24"x16", acrylic on panel, 2014. SOLD

Cathedral and Towers

Cathedral and Towers

24"x16", mixed media on panel, 2014.

BreathOntheMountain

BreathOntheMountain

48"x6", oil on panel, 2014. SOLD

Sheet Goods

It was in May of 2012 that I returned to painting.  For the roughly 10 years prior I had been creating digital images. Pixelly things in MS Paint.  Mostly abstracts and abstracted landscapes.  I loved them.  Still do.  The process was the real delight.  I would try to do something, the simple software would do its best to comply, often coming up short, but to surprising effect.  The back and forth with the limitations of that crude graphics program became almost a duet with the machine.

But those images were creatures of the screen.  I tried printing them: they came out flat - without the back-lighting of the monitor behind them they lost a portion of their drama and impact.  I made light-boxes for them, but they were big and clunky and drew focus away from the image.  Also, the immateriality of digital images niggled at me.  I longed to create physical things.  I wrestled with those Djinns for a decade.

That May, mostly out of frustration, I took some plywood scraps out to the shed and began mucking around.  Here were things - physical things - with texture and tone and heft.  Whispering out from between the strokes were bits of forms and formations, suggestions of the natural constructions - the shapes the world is made of.  In short order I moved from brushes to plastering tools - hawks, scrapers and trowels.  They were more adept at yielding unexpected results.  Here again was the duet I knew, the back and forth with the medium, the process.  The discovery of suggestions of form from the micro to the macro - sometimes simultaneously, and the reactions, this continuous feedback loop.  It's that intoxicating magic of something appearing where there was nothing before, all from a pigmented gesture of steel onto a plane of wood.  Something of the nature of the world and its making is revealed, and, with luck, a tip of the hand behind it.

Gerrard Art Space, 2014

(416) 624-1104

1475 Gerrard St E, Toronto, Ontario, M4L 2A1

©2020 by Matt Wood