The artist’s studio is usually a reflection of the artist; it is their sanctuary. We viewers often marvel at the result of an artist’s idea brought to fruition, but seldom do we imagine the space in which the work was created. As much of a spiritual impact art can have on us, I’d surmise that the artist’s work-space has an equally moving effect. Recently, art enthusiasts have had an obsessive fascination with the tradition of the art studio. The spaces are fascinating, providing us with narratives regarding both the creative process and the creative lives of the artists.
This is the second interview in an ongoing HAF investigative series on the artist studio — the first was done last year with Lorna Crane, Australia, and Carol Heft, USA. Featured artist, Matt Wolcott, USA, has been painting since 2001 and graduated with a BFA from Ohio State University in 2004. He has been a member of HAF for several years now, and it is always a pleasure to get a look at his vibrant work.
HAF: It is always inspiring to explore an artist’s space. How does your space define you?
Matt: It makes you a god of sorts; you enter your studio and you become the creator. You envision, you make, you destroy, you rebuild. It’s very empowering.
HAF: Is there a methodology behind this arrangement? And do you start fresh with each new work?
Matt: I never have a plan or method that I work in; most of my work is intuitive and decided on the ground I’m working on, especially with the work that is being made now. I begin with a blank sheet of paper and a mark. I have a limited time in which I can work every day, so a lot of staring has been replaced with simply doing. I employ enamels and mix my pigments directly into them. Their fast-drying quality allows me to work quickly; most paintings are conceived and produced in two days. It has kept me from overthinking the work and I feel my art has benefited from that.
HAF: One thing that has been a serious deterrent for me to really explore painting is the toxicity of the paints and chemicals; I have a fragile respiratory system. Do you put much thought into the harmful aspects of art materials?
Matt: I lived and worked in the same space for years, and I could feel the effects on my health. Having a studio is a necessity for me as a painter. I essentially work with poisons, and I like my central nervous system so the more I can limit my exposure, the better. I do accept the risk of working with these chemicals. It’s part of the deal of being a painter, I believe.
HAF: It is very inspiring to hear your voice, regarding this aspect of the studio — its positive and negative impacts. I immediately connected with your work, upon first observing the soft color pallet and line in your paintings. Later, I made a bold move in asking you for some tips, impressed especially by the softness of your line work. You then provided me with a short video tutorial to share your technique and I am very pleased with this new application. However, I have yet to overcome the “overthinking” that you mentioned. It is an act that defines me. What advice can you offer, given what you’ve seen of my work?
Matt: I see that you work in chalk mostly; it’s very ephemeral. I was making the soft pastel-like paintings when we first became acquainted, mostly due to a lack of confidence in myself and my work. The lighter the color and softer the edge, the more easily it was to cover up or obliterate. As I’ve grown as a painter and a person, I’ve developed enough confidence in myself and my work that I am able to deal with these bolder colors and harder lines. My advice would be to work as much as you possibly can, learn from your mistakes, make more mistakes, make work quickly and in large batches, make bad art, make great art, and once you feel that confidence build, hold onto it and paint your ass off! I can only offer my experience as advice. I hope that helps you. Overwork to overcome the overthinking.
HAF: Matt, I want to say thanks for spending a little time with us and sharing some of your studio practices. Keep making art!
