HELLO MATT, WELCOME BACK TO THE 4BYSIX FAMILY AND THANK YOU FOR TAKING THE TIME TO CHAT TO US ABOUT YOUR ART PRACTICE AND PIECE YOU HAVE MADE FOR OUR VEHICLES FOR CHANGE INITIATIVE.

TO START, CAN YOU TELL US HOW YOU WOULD DESCRIBE THE CORE IMPULSE BEHIND YOUR ART PRACTICE?

I often start with a sketch or a found image. I then allow for the painting to take it’s own journey when I begin to apply the paint. I allow for accidents and spontaneous decisions to inform the direction of the piece. 

Are there any significant historical events, artistic movements, or cultural figures that have shaped your perspective as an artist and influenced the themes explored in your work?

I’m always interested in learning about art history but I tend to lean more towards modern art movements rather than classical.

HOW DO YOU APPROACH TRANSLATING SUCH COMPLEX PSYCHOLOGICAL AND ENVIRONMENTAL THEMES, LIKE THE EMOTIONAL DISCONNECT BETWEEN INTELLECTUAL AWARENESS AND THE NATURAL WORLD, INTO COLOUR, MOVEMENT, AND COMPOSITION ON THE CANVAS?

With a lot of procrastination.

HOW WOULD YOU DESCRIBE THE WAY IN WHICH YOUR ABSTRACT-FIGURATIVE FORMS EXPLORE THE HUMAN EXPERIENCE AND OUR RELATIONSHIP WITH THE NATURAL WORLD?

I’m drawn to art that has a sense of unease or darkness that has a sprinkling of humour and sensitivity that I feel captures a sense of the human condition. I'm always happy if I feel I have achieved this.

FOLLOWING THEMES OF THE NATURAL WORLD, WHEN THINKING ABOUT THE CURRENT ECOLOGICAL STATE OF THE PLANET, DO ANY EMOTIONS OR CONCERNS STRONGLY INFLUENCE YOUR PAINTINGS?

I don’t think I necessarily think of these things when I’m working but the ecological state of the planet is something I am aware and concerned of.

YOU RECENTLY MADE A NEW ARTWORK ON A PIECE OF OUR UNCONVENTIONAL CANVASES MADE OF REPURPOSED LORRY TARPAULIN, HOW WAS THIS EXPERIENCE IN COMPARISON TO THE PLASTIC PANEL IN OUR PREVIOUS COLLABORATION? DID THE TARPAULIN’S SURFACE INFLUENCE ANY CREATIVE DECISIONS YOU MADE?

I much preferred this material for it’s canvas like qualities (after sanding it down and applying spirit), the plastic panels where heavy and a little trickier. 

WHAT MORE CAN YOU TELL US ABOUT THE WORK YOU HAVE MADE ON THE TARPAULIN PIECE? IS THERE A SPECIFIC EMOTION, THEME OR REFERENCE YOU WOULD LIKE TO TOUCH UPON?

I have done a lot of skull pieces recently, more than ever, I’m not sure why, maybe I need a break from watching the news, but they are kinda fun to do, this one was fun to make, I think that shows through the playfulness that the paint was applied. It might be my favourite and last skull piece (for now).

DO YOU CONSIDER YOUR ART PRACTICE AS A FORM OF RESPONSE OR RESISTANCE TO THE INSTABILITIES OF ENVIRONMENTAL SUSTAINABILITY?

Not in general no, maybe some thing’s factor in to it. I make work on a very subconscious state of mind. I did a series of paintings for a show a few years ago that got highlighted for being about environmental issues but that wasn’t my initial intention, I like for my work to be interpreted however the viewer wishes to see it.

FINALLY, CAN YOU TELL US WHAT IS NEXT FOR YOU AND HOW LIFE IN THE STUDIO IS FOR YOU?

ARE YOU WORKING ON ANY NEW AND EXCITING PROJECTS?

After a very busy few years of being lucky enough to do a bunch of solo and group shows with some really cool galleries and artists. I am taking this year out to just get down to making work without any intention in mind of a show or anything. I need time to take my practise into a new chapter and work out some ideas, to experiment and have fun again (it’s hard to have fun when you have deadlines).