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

James Clarkson

Mikey Cook

Kevin Cooley

Elizabeth Corkery

Daniel Crews-Chubb

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

Jenny Morgan

Ryan Mosley

Benjamin Murphy

Jose Carlos Naranjo

Regina Nieke

Sarah Pager

Selma Parlour

Yelena Popova

Martine Poppe

Tony Romano

Lou Ros

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

Somewhere Out There [Pacific Ocean] (2016), Chinese Ink, Oil, Acrylic, Enamel, Pen, Sand, Earth and Found Object on Canvas, 170x186cm
Hobo [Atlantic Ocean] (2016), Oil, Acrylic, Chinese Ink, Enamel, Pencil, Oilstick, Pen and Earth on Canvas, 172x193cm
Distant Sunrise Over Pacific Ocean (2016), Chinese Ink, Oil, Acrylic, Enamel, Pen, Sand, Earth and Found Object on Canvas, 171x185cm
Lost Time [Pacific Ocean] (2016), Chinese Ink, Oil, Acrylic, Enamel, Pen, Sand, Earth, Pigment Dye and Found Object on Canvas, 163x185cm
Interdial [Atlantic Ocean] (2016), Chinese Ink, Oil, Oilstick, Acrylic, Enamel and Pen on Canvas, 154x195cm
Pass Over [Atlantic Ocean] (2016), Oil, Acrylic, Chinese Ink, Enamel, Pencil, Oilstick, Pen and Earth on Canvas, 174x196cm
A Journey On and With the Pacific Ocean 2 (2015), Chinese Ink, Oil, Oilstick, Acrylic, Pen, Earth, Water and Salt on Canvas, 140x140cm
A Journey On and With the Pacific Ocean 3 (2015), Chinese Ink, Oil, Oilstick, Acrylic, Pen, Earth, Water and Salt on Canvas, 140x140cm
9 Hours In and With the Atlantic Ocean (2016), Pen, Rust, Earth and Water on Paper, 74x115cm
11 Hours In and With the Atlantic Ocean (2016), Pen, Rust, Earth and Water on Paper, 74x115cm

 




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 graduated with an MFA and BA Hons in Fine Art from the Nottingham Trent University. He has been included in numerous group exhibitions internationally and around the UK including: After Image: Contemporary Artists and Photography, Art House Productions Gallery, New Jersey, USA (2015), Power of the Sea, Royal West of England Academy, Bristol (2014), Appendage, Konnektor, Forum für Künste, Hannover, Germany (2014), The Experience of Time through Contemporary Art, North Carolina Museum of Art, North Carolina and Pratt Manhattan Gallery, New York, USA (2013); Sea Journeys, Künstlerhaus Dortmund, Germany (2013) and Glasklar Milchig, Forum Factory, Berlin, Germany (2013) His solo exhibitions include Continuum, James Cohan Gallery, New York, USA (2011) and Sea Marks, Mendes Wood DM, Sao Paulo, Brazil (2011). Following his artist residency at the Scripps Institute of Oceanography in California in 2015, he had two solo shows at Scripps and the University California San Diego. Matthews was a finalist in the Francois Schneider Contemporary Talents competition in France in 2014, and last year was a short listed artist featuring on the Sky Arts programme Landscape Artist of the Year. In 2016 Matthews will show his work in the major touring and Arts Council funded exhibition Head Above Water which will travel from Plymouth and then around the UK. Matthews had his last solo exhibition with BEERS in June 2013, entitled, 'Surroundings' and his second solo exhibition with BEERS took place in June 2016.


 


 




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 graduated with an MFA and BA Hons in Fine Art from the Nottingham Trent University. He has been included in numerous group exhibitions internationally and around the UK including: After Image: Contemporary Artists and Photography, Art House Productions Gallery, New Jersey, USA (2015), Power of the Sea, Royal West of England Academy, Bristol (2014), Appendage, Konnektor, Forum für Künste, Hannover, Germany (2014), The Experience of Time through Contemporary Art, North Carolina Museum of Art, North Carolina and Pratt Manhattan Gallery, New York, USA (2013); Sea Journeys, Künstlerhaus Dortmund, Germany (2013) and Glasklar Milchig, Forum Factory, Berlin, Germany (2013) His solo exhibitions include Continuum, James Cohan Gallery, New York, USA (2011) and Sea Marks, Mendes Wood DM, Sao Paulo, Brazil (2011). Following his artist residency at the Scripps Institute of Oceanography in California in 2015, he had two solo shows at Scripps and the University California San Diego. Matthews was a finalist in the Francois Schneider Contemporary Talents competition in France in 2014, and last year was a short listed artist featuring on the Sky Arts programme Landscape Artist of the Year. In 2016 Matthews will show his work in the major touring and Arts Council funded exhibition Head Above Water which will travel from Plymouth and then around the UK. Matthews had his last solo exhibition with BEERS in June 2013, entitled, 'Surroundings' and his second solo exhibition with BEERS took place in June 2016.