ATOI

Dale Adcock

Faig Ahmed

Hurvin Anderson

Scott Anderson

Fabio Lattanzi Antinori

Michael Armitage

Luke Armitstead

Lello // Arnell

Francis Bacon

Cornelia Baltes

Simon Belleau

Joshua Bilton

Alison Blickle

Benjamin Brett

Andrew Brischler

Carla Busuttil

Scott Carter

Jonathan Chapline

James Clarkson

Mikey Cook

Kevin Cooley

Elizabeth Corkery

Øystein Dahlstrøm

Blake Daniels

Fleur Van Dodewaard

Tomory Dodge

Antoine Donzeaud

Zavier Ellis

Amir Fattal

Madeline Von Forerster

Ruth Freeman

Anthony Goicolea

Jonny Green

Pablo Griss

Eckart Hahn

Felicity Hammond

Byzantia Harlow

Neil Harrison

Clinton Hayden

Colleen Heslin

Oliver Hickmet

Aaron Holz

Edward Hopley

Gary Hume

Christoffer Joergensen

Tamara K.E

Olivier Kosta-Thefaine

Olaf Kuhnemann

Bruce LaBruce

Janneke Van Leeuwen

Tomáš Libertíny

Gijs Van Lith

Tom Lovelace

Kate Lyddon

Nigel Massey

Roberto & Renato Miaz

Holly Mills

Jenny Morgan

Ryan Mosley

Benjamin Murphy

Jose Carlos Naranjo

Regina Nieke

Sarah Pager

Selma Parlour

Yelena Popova

Martine Poppe

Tony Romano

Lou Ros

Maja Ruznic

Alan Sastre

Sebastian Schrader

Andrew Sendor

Dominic Shepherd

Pawel Sliwinski

Berndnaut Smilde

Evren Sungur

Shaan Syed

Struan Teague

Alexander Tinei

Kristian Touborg

Luke Turner

Alain Urrutia

Dan Voinea

Mathew Weir

Jack West

Jonathan Zawada

Peter Matthews

Inquire about this work

Way (2018), Oil, Acrylic, Enamel and Mixed Media on Canvas, 222x181cm
Cometa (2018), Oil, Acrylic, Enamel and Mixed Media on Canvas, 150x169cm
Everwave (2018), Oil, Acrylic, Enamel and Mixed Media on Canvas, 242x181cm
Hondo (2018), Oil, Acrylic, Enamel and Mixed Media on Canvas, 171x161cm
Sabal (2018), Oil, Acrylic, Enamel and Mixed Media on Canvas, 141x129cm
Ascension (2018), Oil, acrylic, enamel, and mixed media on canvases from the Atlantic coast of England and the Pacific coast of México, 160x171cm
Chaac (2018), acrylic, enamel and mixed media on canvas, 121x111cm
11 Hours In and With the Pacific Ocean (Mexico)(2018), Pen, Rust, Earth and Water on Paper 56x94cm

 



Through the simplicity of the works, Matthew's comments as much on performance and 'the conceptual' as he does the two-dimensional picture plane. For these are drawings that are not really about drawing at all, but rather about man's inability to recapture the momentary sublime held in the vastness of nature, the bleak romanticism in the ocean as it consumes and intoxicates. Through extended hours (sometimes Matthews will abscond himself for up to 9 hours, adrift alone at sea,) Matthews is working in real time through a very direct approach and immediate relationship with the ocean, where it becomes evident that his process is so much less about draftsmanship or material and more about an idea connected to nature and personal spirituality: through the drawings, Matthews seeks to question and challenge the nature of the image as something that requires subject matter. He questions us, as to whether the drawing can capture an essence, a thought, a momentary fleeting feeling. For Matthews, there is an immediacy and connectivity in his practice that articulates something that even a painting cannot - for a painting is about production, and these drawings are not about the artist's studio or statement: they are about a place and moment in time. Most recently, he has begun pairing his works with videos which offer perhaps the most straightforward documentation of a practice defined by its very indefiniteness, its incalculability, and the presence of video may be more apt to contextualize something that drawing, even after hours and hours drifting in the ocean, may not be able to fully explain for his viewer.

PETER MATTHEWS (b.1978, Leicester) lives and works in Leicester, England. He graduated with a BA(Hons) and MFA from Nottingham Trent University. Solo exhibitions include an installation-based exhibition at Pasaje Montoya, Barcelona, Spain (2018); 'From the Pacific to the Atlantic', Strange Cargo, Folkestone, Kent (2017); ‘In Search of the Sublime’, Beers London (2016); 'Surroundings', Beers London, (2013); ‘Continuum’, James Cohan Gallery, New York (2011); and ‘Sea Marks’, Mendes Wood DM, Sao Paulo (2011). He was a 2014 finalist in the Francois Schneider Contemporary Talents competition. In 2015, he completed an artist resident at the Scripps Institute of Oceanography California, and was also shortlisted on the Sky Arts programme ‘Landscape Artist of the Year’. In 2017 he was awarded the Hugh Casson Drawing Prize at Royal Academy of Arts, London. He was selected for the John Moores Painting Prize in 2018, and also showed a large body of works on paper at the Saatchi Gallery, London in the spring. His works have been collected by the Coppel Collection, The National Maritime Museum, and various other public and private collections internationally and throughout the UK. Matthews' fair history includes a solo showing with BEERS London at ‘Artissima’, Torino (2016) and a forthcoming group presentation at Zona Maco, Mexico City, (2019). 

 



Through the simplicity of the works, Matthew's comments as much on performance and 'the conceptual' as he does the two-dimensional picture plane. For these are drawings that are not really about drawing at all, but rather about man's inability to recapture the momentary sublime held in the vastness of nature, the bleak romanticism in the ocean as it consumes and intoxicates. Through extended hours (sometimes Matthews will abscond himself for up to 9 hours, adrift alone at sea,) Matthews is working in real time through a very direct approach and immediate relationship with the ocean, where it becomes evident that his process is so much less about draftsmanship or material and more about an idea connected to nature and personal spirituality: through the drawings, Matthews seeks to question and challenge the nature of the image as something that requires subject matter. He questions us, as to whether the drawing can capture an essence, a thought, a momentary fleeting feeling. For Matthews, there is an immediacy and connectivity in his practice that articulates something that even a painting cannot - for a painting is about production, and these drawings are not about the artist's studio or statement: they are about a place and moment in time. Most recently, he has begun pairing his works with videos which offer perhaps the most straightforward documentation of a practice defined by its very indefiniteness, its incalculability, and the presence of video may be more apt to contextualize something that drawing, even after hours and hours drifting in the ocean, may not be able to fully explain for his viewer.

PETER MATTHEWS (b.1978, Leicester) lives and works in Leicester, England. He graduated with a BA(Hons) and MFA from Nottingham Trent University. Solo exhibitions include an installation-based exhibition at Pasaje Montoya, Barcelona, Spain (2018); 'From the Pacific to the Atlantic', Strange Cargo, Folkestone, Kent (2017); ‘In Search of the Sublime’, Beers London (2016); 'Surroundings', Beers London, (2013); ‘Continuum’, James Cohan Gallery, New York (2011); and ‘Sea Marks’, Mendes Wood DM, Sao Paulo (2011). He was a 2014 finalist in the Francois Schneider Contemporary Talents competition. In 2015, he completed an artist resident at the Scripps Institute of Oceanography California, and was also shortlisted on the Sky Arts programme ‘Landscape Artist of the Year’. In 2017 he was awarded the Hugh Casson Drawing Prize at Royal Academy of Arts, London. He was selected for the John Moores Painting Prize in 2018, and also showed a large body of works on paper at the Saatchi Gallery, London in the spring. His works have been collected by the Coppel Collection, The National Maritime Museum, and various other public and private collections internationally and throughout the UK. Matthews' fair history includes a solo showing with BEERS London at ‘Artissima’, Torino (2016) and a forthcoming group presentation at Zona Maco, Mexico City, (2019).