Tony Matelli, ‘Lost and sick’, 1996, Gary Tatintsian Gallery

Image rights: Gary Tatintsian Gallery and Artist studio

San Diego, Museum of Contemporary Art San Diego, Small World: Dioramas in Contemporary Art, January 23 – April 30, 2000
Illustrated p. 34 and on the cover
San Francisco, Yerba Buena Center for the Visual Arts, To Be Real, 1997, n. p. (illustrated)

R. de Guzman, To Be Real, San Francisco 1997, n.p. (illustrated)
R. Jones, "A Fresh Hell: Tony Matelli's Morality Tales of Catastrophes," Siksi Playlist Spring 1997, pp. 10-11 (illustrated)
T. Kamps, Small World: Dioramas in Contemporary Art, San Diego, 2000, p. 34 and illustrated on the cover
L. Fischman, Tony Matelli, New York, 2003, p. 17-18, 44 and 72 (illustrated)

About Tony Matelli

Incorporating figurative, botanical, and abstract forms in his sculpture, Tony Matelli creates uncanny objects that are both unsettling and comical. His bronze sculptures feature ropes frozen in mid-air, as if the ropes were dropped on a plinth and cast just before collapsing into inert coils. Other works rely on unusual juxtapositions, such as his weeds series in which plants sprout from the space between gallery walls and floors. Across his oeuvre, and particularly in his mirror paintings, Matelli discards traditional genre categories in favor of experiential concerns. “I like sculpture because it’s unwieldy, and there is a resistance to decoration in sculpture that I like,” Matelli has said. “Genres are at the service of ideas, not the other way around.”

American, b. 1971, Chicago, Illinois, based in New York, New York