Matthys Gerber is a painter known for his extensive production of paintings, drawings, cut-outs and related collaborative efforts. In a now-modern sense, his works engage realism as readily as they do the vast spread of languages known as abstraction, whilst seemingly eviscerating any rigid definition. For this reason, his works and practical approach to painting appear loosened from convention, yet this belies a commensurate craftsmanship and capricious understanding of what remains possible with the act of making art.
The current 'Sonic Paintings' are in this sense compliant, having been constructed with speakers embedded into the works themselves, accompanied by music provided by Stephen Hodge and Matt Young. As the artist claims, "The Sonic paintings probably should not be understood traditionally as a collaboration [as in previous work].... the paintings and the music remain interchangeable - however they are responsive in interesting ways". In my opinion Gerber's painted new works stem from a post-modern evaluation, yet they are far more interesting than this one definition of a background is now able to critically imply. For this reason I for one am excited to see or should I say hear his paintings.
Image above: Matthys Gerber
PROJECT ROOM Composite for MOP David Thomas
The French philosopher Henri Bergson understood perception as action, not only representation. For him, these processes occurred in the duration of time, and therefore were both virtual and actual, creating movements and rhythms of meanings. Memory operates to bring the past in to the present *recollection informs perception* the virtual moves into the actual, as a mixture of experience and representation: a composite. Composites consist of things differing in kind and unified through the duration of experiencing them. Artworks are composites *language and sensation meet in concrete form* internal and external meet* in the actual time and space of the present, in the experience of the viewer. Light, space, colour, image, reflection, surface, site and time are employed to generate content in the COMPOSITE FOR MOP.
Melbourne resident David Thomas is a lecturer in painting at RMIT, and was born in Belfast. His extensive work on painting has many aspects to it yet his is primarily an investigation of, "...the phenomenology of perception". With this, David may use any medium or style for the delivery of ideas such as, installation, video, photography, and collaboration, "...but he does so in a manner informed by painting and notions specific to it". And as Stephen Haley specifies, "He looks at painting to look at looking itself".
Other key words useful in a definition of David's painterly vernacular may be, post-formalist, colourful, and critically engaging. The central concerns of his practice however revolve around a deep and longstanding investigation into the nature of reflection and the art makers special relationship to materiality, medium, time, presence, absence, permutation, and least of all, the notion of the spectacular in contemporary life. Whereby, understanding Haley's recent claim he consequently speculates on, "...the nature of painting itself", is of itself, a transparent concern mediated by his rigorous commitment to the act.
Excerpts from Stephen Haley, David Thomas - Wonder Works,
RMIT School of Art and Culture & Conny Dietzschold Gallery Sydney and Cologne, 2004