In this room, occasionally pictures are shown to illustrate a point. The meandering arrows could be considered a kind visual depiction of pacing back and forth, a mapping of the uncertainty of where to stand next, how to return to an idea once I find that place, and what point I am trying to make once I find a place to voice something. It is all an overly literal interpretation of a conversation. Love to you, Billy and Frankie, .M ∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞ Dear Robyn, Tactility continues to be on my mind. Maybe that has a lot to do with how most of our stuff is still in boxes 5 and I just want to hold onto something that grounds me, captures my attention so that I simply lose track of time. Metaphorical space for sure, but also something that makes you want to build something. Love to you Billy, and Frankie, .M ∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞ Dear Matthew, I know you’ve felt challenged to scale up your drawings for a long time, but you’ve always resisted. What was it about the “Express” sign from the Lincoln lube shop that made this transition into your largest work to date possible? Love, Robyn ∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞∞ Dear Robyn, The scale has to do with the ability to see the tonal changes, as I knew a single Sharpie couldn’t cover a larger surface without running out of ink. This came from my previous experience of coloring those homemade “ jorts,” with a bunch of Sharpies. 6 ____________________ 5
Matthew and his wife and fellow artist Myra recently moved into a new home. 6
This is a reference to a recent work of Matthew’s entitled ”Critique Pants,” in which his jean-shorts were the “canvas”
The Face of Looked at Mountain, 2017 Archival inkjet print, 531/2 x 25 inches