Category Archives: Matt Story

Video to Enjoy! 21 | Apr

Take a look at this impressive video from Matt Story. Enjoy!

Light and Memory 05 | Apr

Check out this new 3-minute video on some recent work from Matt Story with several pieces here in the gallery now. He’ll also be showing solo here in September.

*Light and Memory* | oil paintings by matt story

Water Exhibition running through next weekend 20 | Feb


Last chance to check out the Matt Story Water exhibition here at the gallery running through next week.

Here’s a review by Beckett Mufson at The Creators Project:

Matt in the Paper 06 | Feb


Our local Post + Courier wrote a really nice article about Matt Story’s new body of work. Enjoy!

Stories about Matt Story 05 | Feb


Here are two great blog posts about Matt’s new body of work:

Matt Story Paintings are here 26 | Jan


The Matt Story works have arrived! JB is working on lighting now and they look amazing.

Matt in AAC 22 | Jan



Reductionism in Pink Flight Afloat 06 | Jan


How do you progressively reduce the complexity of a visual idea? When does
an idea become over-simplified? I’m regularly taunted by reductionism.
Its a challenge to take elements out of an idea without seeing the larger
thing quietly fall apart.

[image: Inline image 1]

These reflections, in Pink Flight Afloat (60 x 40 in | oil on panel) may
still seem complex but they’ve undergone significant iterations of
reductionism, a ruthlessly simplifying of forms: Three lines becomes one
line; A gradated shadow becomes a flat plane; A spectral color transition
becomes binary or even unary. It takes diligence for me. It’s a challenge
while painting: to resist seeing (and therefore painting) ever more detail.

Whenever I lapse into a painting trance, I eventually awaken to find that
I’ve veered off always into every more imaginary detail: dividing hair into
single strands floating alone, adding goose bumps to flesh, adding compound
colors to shadows, and on and on and on.

But I often see that as I add more and more detail, it ceases to improve
the image and perhaps even detracts overall. It may become more realistic
but less real. Right then I see that I’m getting farther and farther from
the universal, abstract form of the image as I get closer and closer to the
particular reality of it. And this is probably what’s good about my work,
if anything is. My images stand for an abstract concept even more than a
particular woman on a particular day somehow.

Its precisely what the Greek philosophers meant by saying that ideal forms
were more real than particulars, the abstract over the concrete. I think
this is a key difference between hyperrealist painting and photography. A
photograph is literally always a particular representation. And I think
that by reducing the particulars from an image, it may, ironically, become
more general, more universal, and more real.

As Lucien Freud said, “The longer you look at an object, the more abstract
it becomes, and ironically, the more real.”

–Matt Story


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