Matthew Stone

To consider the work of Matthew Stone (b. 1982) within any singular fine art discipline is both problematic and unnecessary. The relevance and detail of his perspective translates as much within the space of a gallery as it does within the various cross-cultural disciplines that he engages. New Photography is an original series of four works digitally printed on canvas that chronicle the artist’s accomplished manipulations of visual imagery and his continued commitment to examining the lenses through which human behaviours exist and revise.

Stone began his career by constructing a series of social passages that took place in London during the mid 00’s. He was instrumental to the arrangement of the !WOWOW! collective, coordinating a group of young multidisciplinary artists and events in squatted buildings in Peckham, South London; as well as the movement of sub-cultural understanding that came to define areas in the East-End of London. Stone’s ability to constantly create and then participate in his own potent creative social constructs is integral to determining his output as a visual artist.

Stone begins by applying colourful brushstrokes on glass which he documents photographically. The resulting images are then digitally manipulated before being printed onto linen canvas. Here Stone presents figurative, photographic depictions of traditional ‘abstract’ painted gestures that can be understood to depict the organised social encounters from which he has built his persona and philosophies.

Faith Structure for the Non-Believer is a rhythmic composition by Matthew Stone. Here, the artist creates a balance between linear and painterly brushwork. He uses a mixture of warm and cool tones of red and blue; it’s as if the paint wants to escape the canvas and find a place for itself on a different plain.

Stone begins these works through the application of paint in formerly considered brushwork rendered on glass. These individual gestures are then captured digitally on camera and processed in Photoshop where Stone is able to resize, enhance and manipulate into a compositional network of brushstrokes.

The digital aspect of these works is integral to Stone’s process of exaggeration. Computer treatment allows the artist to examine a level of detail that is ordinarily undetectable to the human-eye. As a result the artist is able to remove dust, hair and foreign bodies playing into human desires for total perfection.

Check out more of his work here.