Los paisajes óseos de Matthew Cox
En 1895 Wilhelm Conrad inventó los rayos X y los describió como “rayos de expresión” revelar lo que escondemos. Lo presentó como una luz invisible y que entre más obscuridad, más podría mostrar la esencia del cuerpo, en lo que al parecer se descubrió como accidente. Una fotografía de nuestro repertorio óseo.
El trabajo de Matthew nos lleva a lo extraviado en esa fotografía de lo interior. En este proceso a mano nutre placas fotosensibles con las fibras que nos componen y las coloridas posibilidades de este lienzo blanco y negro. Segmentando lo translucido, imaginando el paisaje del cuerpo.
En esta entrevista hablamos sobre su proceso de trabajo, la selección del material y sus próximos proyectos:
– In about 2001 my sister and I had a couple of days in Paris together. We had a walk through those long halls of Medieval tapestry at the Louvre and later we realized our mutual respect for the beauty of medical x-rays well. I had been thinking for a while about art as being self-portraiture in that it reveals where you are in your experience and interests. When I got back home I began to embroider x-rays.
– Handmade stitched objects seem to have a background in nurturing. If someone knits a scarf for you it means they care. And probably that they enjoy the repetitive action in the hands. A quilt, a sweater, socks, gloves. Historically, this action has been carried out mainly by women. Annette Messager is an artist who recognizes this and accentuates it by combining it with tough elements: mortality and social stigma. When I came around the corner and was confronted by her Les Repos des Pensionnaires my idea of stitching was confused and excited. I think this was around 2002 at the Pompidou. All of those little dead sparrows in their handmade sweaters. The story goes that she stepped on a dead sparrow on the sidewalk and felt compelled to nurture it and Les Repos was the product. It sparked a body of work that also included a garden of small taxidermied animals with stuffed animal heads pulled over their own and a group of misogynistic quotes from French match books that she caringly embroidered on muslin. These are really important works to me.
– This summer I was in Chile and was made aware of the work of Violeta Parra. Violeta was primarily a folk singer, champion of the people and preserver of quickly-disappearing songs. She would travel into the Chilean mountains and seek out the original writers and performers and make record of the music. But during a bout with Hepatitis, being in bed, she made a body of embroidered work that simply depicted ordinary life in her politically-skewed time. Again, the clash of nurturing embroidery and toughness of daily situations make a poignant mix on a soft surface.
– I don’t consider myself a textile artist. But one who layers it with film to take advantage of these predisposed, nurturing attachments.
– My new work is not made with textile though there are moments when the drawings resemble hair and others when they resemble strands of fiber. I’m layering oil pastel on ink to create fictional organisms that exist on the nonfictional planet Kepler 22b. These images are almost ready and will be available soon.
– As for the process I genially approach a piece with only a slight idea of where it’s going and sort of allow it to become what it wants to be.
Agradecemos a Matthew Cox por esta entrevista.