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

Robert Fry

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

Hubiku (2018), oil, acylic, enamel, oil bar, pencil, pen, earth, clay, thread and found objects on canvases from the Atlantic coast of England and the Pacific coast of México, 130x141cm
Cometa (2018), oil, acylic, enamel, oil bar, pencil, pen, earth, clay, thread and found objects on canvases from the Atlantic coast of England and the Pacific coast of México, 150x169cm
Hondo (2018), oil, acylic, enamel, oil bar, pencil, pen, earth, clay, wood, thread and found objects on canvases from the Atlantic coast of England and the Pacific coast of México, 161x171cm
Ascension (2018), oil, acrylic, enamel, oil bar, pencil, pen, earth, clay, thread and found objects on canvases from the Atlantic coast of England and the Pacific coast of México, 160x171cm
Chaak (2018), oil, acylic, enamel, oil bar, pencil, pen, earth, clay, thread and found objects on canvases from the Atlantic coast of England and the Pacific coast of México, 121x111cm
Ek-Balam (2018), oil, acrylic, enamel, oil bar, pencil, pen, earth, clay, thread and found objects on canvases from the Atlantic coast of England and the Pacific coast of México, 150x140cm
'Suspended Aura' (2017), Oil, Acrylic, Enamel and Mixed Media on Canvas, 200x190cm
'Astral' (2017), Oil, Acrylic, Enamel and Mixed Media on Canvas, 200x190cm

 




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 lives and works in Leicester, England. He graduated with a BA(Hons) and MFA from Nottingham Trent University. Solo exhibitions include: 'The End is Where They Start From', Pasaje Montoya, Barcelona, Spain (2018); ‘Continuum’, James Cohan Gallery, New York (2011); and ‘Sea Marks’, Mendes Wood DM, Sao Paulo (2011). Group exhibitions include: ‘After Image: Contemporary Artists and Photography’, Art House Productions Gallery, New Jersey (2015); ‘Power of the Sea’, Royal West of England Academy, Bristol (2014); and ‘Appendage, Konnektor’, Forum fur Kunste, Hannover (2014). Matthews completed an artist resident at the Scripps Institute of Oceanography California in 2015, and was a finalist in the Francois Schneider Contemporary Talents competition in 2014. He was also shortlisted on the Sky Arts programme ‘Landcape Artist of the Year’. In 2017 he was awarded the Hugh Casson Drawing Prize at Royal Academy of Arts, London. Matthews’ solo showings with BEERS London include ‘In Search of the Sublime’, London (2016); and ‘Artissima Art Fair’, Torino (2016). Group showings with BEERS London include ’75 Works on Paper’, London (2017). He has a further upcoming show with BEERS in early 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 lives and works in Leicester, England. He graduated with a BA(Hons) and MFA from Nottingham Trent University. Solo exhibitions include: 'The End is Where They Start From', Pasaje Montoya, Barcelona, Spain (2018); ‘Continuum’, James Cohan Gallery, New York (2011); and ‘Sea Marks’, Mendes Wood DM, Sao Paulo (2011). Group exhibitions include: ‘After Image: Contemporary Artists and Photography’, Art House Productions Gallery, New Jersey (2015); ‘Power of the Sea’, Royal West of England Academy, Bristol (2014); and ‘Appendage, Konnektor’, Forum fur Kunste, Hannover (2014). Matthews completed an artist resident at the Scripps Institute of Oceanography California in 2015, and was a finalist in the Francois Schneider Contemporary Talents competition in 2014. He was also shortlisted on the Sky Arts programme ‘Landcape Artist of the Year’. In 2017 he was awarded the Hugh Casson Drawing Prize at Royal Academy of Arts, London. Matthews’ solo showings with BEERS London include ‘In Search of the Sublime’, London (2016); and ‘Artissima Art Fair’, Torino (2016). Group showings with BEERS London include ’75 Works on Paper’, London (2017). He has a further upcoming show with BEERS in early 2019.