Matthew Chambers, ‘Is There One That Wouldn't Weep’, 2012, TWO x TWO

Since 2008, Chambers has been working on a set vertical dimension with a 2:1 ratio, spontaneously painting from images of magazines, newspapers, and mass mail. In Is There One That Wouldn’t Weep, Chambers takes these strips and attaches them together to create a modernist composition that evokes chance, luminosity, and structure.

Since 2008, Matthew Chambers has been working religiously on a set vertical dimension with a 2:1 ratio, spontaneously painting from images of magazines, newspapers, and mass mail. As a result, each painting yields a unique and rich visual story. When a piece is unsuccessful, he cuts it into strips and recycles them into a new work. In Is There One That Wouldn’t Weep, Chambers takes these strips and attaches them together to create a modernist composition that evokes chance, luminosity, and structure. Matthew Chambers lives and works in Los Angeles. His work has been collected by The Sender Collection, New York; Il Giardino dei Lauri, Italy; and Saatchi Collection, London. His work has been the focus of solo exhibitions at UNTITLED, New York; Zabludowicz Collection, London; and Blanket Contemporary Art, Vancouver.

About Matthew Chambers

With quick, gestural brushstrokes, Matthew Chambers paints representational images inspired by pop culture, movies, and art history, as well as abstract works comprising layered strips of torn canvases rejected by the artist in making other works. For Chambers, the practice constitutes his method of processing image overload. His subjects, all rendered in a painterly style, range from a comical, boot-sporting, umbrella-toting cat, to a portrayal of two formally dressed women so intimate it leaves viewers feeling like they are intruding, to a homoerotic depiction of a man in boxers toweling another, nude man. Noting the characteristic threads trailing from the canvases, warped stretchers, and other flaws, critic Jeff Frederick writes in Art in America, “What Chambers has to say is too urgent, his passion too great, for him to get caught up in the niceties of facture. And roughness is part of the appeal.”

American, b. 1982

Group Shows

2015