Kevin Miyazaki took some great documentation of the Carlos Hermosilla Alvarez and Colin Matthes: Echoing Concerns exhibition at the Charles Allis Museum, Milwaukee, WI.
I just came across this interview I did with my then girlfriend, now wife, Makeal Flammini. I enjoyed re-reading it enough to share here.
THE PEANUT GALLERY PRESENTS: Colin Matthes
Artist. Inventor. Math-Wiz. Boyfriend.
We are seated in our room.
MF: I see you are wearing new glasses. Are you going for a Malcolm X look?
CM: Not really. I just got sick of the glasses I've had for the last 12 years. Plus they have
been broken and taped together for the last 10 months.
MF: Those black frames are pretty popular now too. Would you say you're a trend setter?
CM: No. Well, if people start ripping the sleeves off of dress shirts and all their
buttons go missing I guess I could be.
MF: It is hard times out there. You never know.
CM: I'm a trend setter for a struggling economy.
MF: Am I your girlfriend?
MF: How's that?
CM: Pretty good.
MF: Just pretty good?
MF: Ok. So...What's up?
CM: You didn't prepare a lot of questions for this interview huh?
MF: I'll ask the questions here. So you're going back to Ireland in a few weeks? Tell me about that?
CM: I'm doing an artist residency at the Cow House Studios in Wexford, Ireland for 2 months. I'll
probably keep working on my invention drawings and imagining what the inside of
Cheyenne Mountain looks like.
MF: What is Cheyenne Mountain?
CM: I think it's the most secure place in the country. It is a mountain bunker that is hollowed out that has at least 14 buildings in it that can withstand nuclear blasts, natural disasters and other things.
MF: Who's is it?
CM: I don't know but the U.S. and the Canadian Military are involved. I just started researching it.
MF: Do you think I am pretty?
MF: Can you elaborate on that?
CM: You are a very pretty sexy interviewer.
MF: How come you don't get me a Cheyenne Mountain?
CM: You bet on the wrong horse I guess.
MF: Have you ever been in a fist fight?
CM: Just once.
MF: What happened?
CM: No comment.
MF: Was it over a girl?
CM: (shakes head yes)
MF: Come on!
CM: Is this an interview or an interrogation?
MF: What's the difference? Would you fight for me?
CM: Yes. I hope I would.
MF: Do you think I am a good fighter?
CM: I've heard you're not.
MF: From who?
MF: When did I tell you I was a bad fighter?
CM: You said you tried punching a girl in high school and she just laughed at you.
MF: NO. I said I was fighting her and when I tried to knee her because my friend was yelling at me to do that she started laughing at me and then she beat me up. So what are you working on at the moment?
CM: Starting a drawing for an upcoming JustSeeds show at Munch Gallery in New York this December. And.. throwing a lot of darts at my wall.
MF: What are you into lately?
CM: Well. I was just thinking about Ian Davis's paintings. I've been thinking a lot about toys and games lately. I went to KMART the other day trying to figure out ways to use them. But they are all too fucking expensive.
MF: What have you done this summer?
CM: We came back from Ireland then I started the summer by doing electrical work with my dad for the Jefferson County Fair. I recently made a carnival game that went to an exhibition in Braddock, pennsylvania. It is called "American Dreaming." It's a ring toss game about class mobility.
MF: What do you think about the upcoming election?
CM: Ugh. That's kind of my answer. American elections are gross.
MF: Do you vote?
CM: Yep. But thats about it as far as energy I like to spend on electoral politics.
MF: But you make a lot of political work?
CM: Yes but politics doesn't mean electoral politics.
MF: So what are you?
MF: Human in this country means Democrat or Republican.
MF: If you were not an artist what would you be?
CM: I think I would be either a carpenter or an electrician.
MF: You are a good builder. Is it true that in High School they called you Colin Math-Whiz?
CM: Dirty. Yeah that is true. It might have been in grade school. In High School you don't really get math nicknames.
MF: So you were selected to be in New American paintings this year! Thats exciting. Does it make you feel good?
CM: It sounds like you're interviewing a 5-year-old.
MF: So... you were happy or...
CM: Yes. I was happy. I listened to Neil Young's "Le-Noise" album today. That was good.
MF: I didn't ask you that.
CM: Just telling you.
MF: Do you want to watch Game of Thrones?
CM: Later. Do I get editing rights to this?
To see Colin Matthes work go to http://ideasinpictures.org/
To see the interview in its original form with photos, etc: http://makealcflammini.blogspot.com/
Carlos Hermosilla Álvarez and Colin Matthes: Echoing Concerns opens this Thursday (March 16th) from 6-8pm at the Charles Allis Museum, Milwaukee, WI.
Carlos is an artist and humanitarian who became known as “the father of Chilean realist printmaking” and was prolific throughout the mid 20th century. Colin is a Milwaukee artist and Justseeds member making interdisciplinary work that addresses economic and environmental crisis.
There are also a few events associated with the exhibition:
Workshop with artist Colin Matthes
Thursday, April 20, 6:00 to 8:00 p.m.
Total Essential Knowledge:
A Collaborative Graphic Communication Archive
No one is an expert in everything and everyone is an expert in something. One part workshop, one part conversation, as we share stories and learn from each other we will make drawings that archive our essential knowledge. (Fee for participants.)
Artist’s Talk with Colin Matthes
Saturday, May 6, 2:00 to 3:00 p.m.
Carlos Hermosilla Álvarez: Repairing the World Through Art and Poetry
Thursday, April 27, 6:00 p.m.
Liliana Hermosilla Rosenthal and Joel Rosenthal will host a presentation focused on Carlos Hermosilla Álvarez, ‘the father of Chilean realist printmaking,’ his life, art, poetry and his contributions to the culture of Chile and abroad.
Check this show out. All about the flag. I've got my Union Made print (below) in the show.
OLD GLORY: FEB 17- MARCH 5, 2017:
Jesse Edwards, David Kramer, Talia Shulze, Michael Scoggins, Rebecca Goyette, J. Morrison, Savannah Spirit, Joe Nanashe, Alex Bierk, Cali Thornhill Dewitt, Joaquin Segura, Mauricio Cortes Ortega & Laura Genes, Jesse Purcell, Josh MacPhee, Colin Matthes, Jordan Eagles & Jonny Cota , Natalie Baxter, Fernando Marti, Megan Whitmarsh, Jim Christensen
How do you write about America today? It's already different from yesterday, and I'm certain that tomorrow will bring a whole new set of concerns. And when I say "yesterday" and "tomorrow", I'm not referring to the past and the future in more general terms. I mean literally yesterday as in "one day ago" and tomorrow as in "one day from now".
As a child, I grew up in the eastern Canadian province of New Brunswick, just east of Quebec and north of Maine.
Growing up on a border town, we visited the US regularly....shopping for clothes, going to state fairs, concerts, restaurants, summer lake homes and experiencing American TV, junk food and beer. I could always feel the difference between the 2 countries. To me, America seemed better. Bigger, more stuff, some warm climate, famous people, New York City, Los Angeles, New Orleans, Chicago, Miami Beach, Old Orchard Beach. You just can't beat that. A little more scary, a little more exciting.
As such, I have always loved the symbols of America...the flag, the anthem, the 4th of July. In Canada, we have a flag and an anthem and the 1st of July, but it just doesn't feel the same. I could listen to Mariah Carey, Whitney Houston, Marvin Gaye or any little kid sing the American National Anthem on YouTube, and I might spend a little too much time watching others sing it as well. American Idol style. I can hardly get through the Canadian anthem once.
"And the rockets red glare, the bombs bursting in air, gave proof through the night, that our flag was still there!"
(This is when the excitement starts to build for me, and my eyes start to water. It doesn't matter if I'm watching a bunch of football players gearing up for their big game. This game seems bigger.)
Ultimately it's a song about a flag, and a song about a country's freedom. It also has 3 other verses that we never hear.
Maybe all the important stuff is in the first verse.
The song asks questions. Literally. It starts with the question "Oh say, can you see?" and ends with the question "Oh say, does that star spangled banner yet wave?" ( There is also the lesser known "What is that which the breeze, o'er the towering steep, as it fitfully blows, half conceals, half discloses?")
Perhaps these are the questions we need to ask ourselves when we look at the flag. Can we see? Does it still? Is this emblem of freedom still all that? What is freedom today in the good ol' USA? Does this flag still wave over the land of the free and the home of the brave?
If you live in America, you encounter this ubiquitous symbol at every turn ...rectangles with 13 stripes and 50 stars. RED, WHITE, BLUE.
Personally, I can't look at it without feeling its history....I always think of all the people who have lost their lives to guns and war, in the name of America.
And all the people who have come here from other places to live their dreams. Like me.
And the fight that continues for basic rights and freedoms for all people.
And a host of other complications with being the country who "leads the free world".
Budweiser, tailgate parties, deep fried Thanksgiving turkey, "America voted, and you're going home".
Back in December, the gallery hosted Eric Doeringer's Matson Jones & Co, which featured the artist's loving and careful remakes of works by Jasper Johns and Robert Rauschenberg. Doeringer's versions of Johns' flag works pointed to our contemporary political moment through the lens of the past. Spending time with these works got me thinking about my own relationship with America, as a Canadian who now calls New York her home, with the precarious status of being here on a visa. I started thinking about how loaded these 13 stripes and 50 stars actually are, and the countless ways that they are represented.
A flag exhibition wouldn't even need to include contemporary art to be compelling, but OLD GLORY, as an exhibition, goes there. It explores the use of the American flag (and in some cases, other flags) in works by artists who, like most of us, look critically at our current state of affairs, our past, and our future. Today, yesterday and tomorrow.....our freedoms, our progress, and our lack thereof.
-Katharine Mulherin, February 2017
First big drawing in 2017. About 60x40in.
I recently had a chat with Frank at Cow House Studios. Here is a preview:
CHS: What are your most vivid memories from your time on residency at Cow House? Do you find that strands of thought that may have originated here continue to reveal themselves in your work?
CM: One of the most vivid is walking out from the studio and letting a gust of wind rip off the kitchen door as I opened it. Damn, embarrassment is the most vivid. The meals were spectacular and a great time to visit with everyone, the daily highlight. Frank making sausage, playing with Michael, chatting with Rosie, watching football and Lord of the Rings, older Michael eating Kit Kats and watching hurling with him, the Ploughing festival. Marc, Susie, and Lois. Hiking up the mountain, that was a great day. Getting to know folks at the Wexford Art center and Monster Truck. Drinking whiskey with Marc and Frank. Having the champion Robert Ellis come visit.
Cow House played a fundamental role in three projects that are still evolving today. I focused on making work for Getting by in the Foreverscape, a series of drawings influenced by the Burren skies, Hollywood movie posters, questionable science, paranoid ramblings, and genuine concern laced with humor. I was able to shape some loose ideas into what became Green Mini Demo Derby. Frank’s feedback and support was helpful in getting the project proposal off the ground. Also at Cow House I committed to expanding the Essential Knowledge project. I did not make any drawings for it, but having time to present my work and reflect led to reenergizing the project once I returned to the states. Initially sixteen drawings it has expanded to include over forty and is still gaining momentum.
We Are the Storm is a portfolio of 22 fine-art prints focusing on front-line, grassroots organizations and groups that are working to defend communities against large-scale industrial fossil-fuel projects, and helping to build resilience in communities affected by climate change. This project is a collaboration between the Justseeds Artists' Cooperative and CultureStr/ke.
I collaborated with Missourians Organizing for Reform and Empowerment to make this poster.