Welcome to Artography! It means a lot to me that you’ve checked out my website and gotten this far in to find this thread. I’ve been working on an interesting style of painting philosophy on and off for 15 years now, introducing abstract rules and concepts to a F = A abstract media. Similar to an F- movie that is just as good as an A+ move, where a C- or C+ movie is the worst. What I mean is, there’s an art to good failure and here it is: Successful failure is the root of this art style. Successful failure is my compass. Successful failure is your ticket to the abstract.
I once created a failure rule that I would show you how to do this style of art as long as you rip it off and tell people that it’s your style. Why not right? What does it really matter any way, that was/is my point. It’s not like art that was taught by someone else is someone else’s art. That’s why I encourage everyone to try something new and let go of the expectations of what is good and do what feels good. Too many people give up on creating because they are are worried about being judged by controlling people that think everything matters, well it doesn’t matter. We are ants and what we do is small in the big picture of the universe. Why don’t you paint on the back of a painting and let it face the wall? Who cares, it’s not your problem, deal with it.
I’ve posted two paintings that were given to David Thomas. The first is one of my favorites! The second is his mandolin case.
I gave up on western society teaching me how they think I should make art. Not to say that taking art classes or whatever is bad, it’s not… I just am tired of the pressure of being forced to be the reincarnation of some other outdated artist. I enjoyed art class and all but I had to fight all the bs that I was supposed to learn and keep reminding myself that my interest lies in my own heart. Not someone else’s heart Like someone’s really going to tell me what art is? I never got an A in art class because I kept rebelling and always applied my own twist to stupid lame projects. Same with music class, I was always pissed because I felt percussionists should be able to create their own parts.
I pour paint on a canvas and use gravity to mix it together. The rule is to grab what ever tool is closest by to paint with. In this case it was painted on glass with a paperclip. This style of painting changed the way I think about creating art/music. Since there’s only a limited amount of time before everything dries, it’s important to decide when to stop. An idea will be clay until it becomes stone. The hard part is trying to cover the entire canvas and knowing when to stop (not using too much spice).
Check out Dave’s Mandolin case!! I painted this in 1999 when I lived at 4051 N Central in Indy. I’ve done about 7 cases ever, this and Dave Sullivan’s (I’ll find a pic soon hopefully) are my favorites.
Sangeet Mala (Travis Ellison on Tabla – Matt Frick on Udu drum)
This is one of my favorite concepts: Paint the back of a painting… The Painting is looking at our world and thinking we’re the ones that are fucked up and abstract. I did a few of these paintings only, this one was given to Drew Scalercio This was a great lesson of painting a specific way in response to an abstract unique environment and a given obstacle. (painting on the wrong side, also given a gold bordered frame). I learned from this concept that artistic Ideas must be quickly set in stone and artistic decisions will cement fast, there is no time for indecisive non commitment. Knowing when to stop was executed perfectly on this painting, this is still a lesson I am trying to learn. People that blow glass feel me on this, glass blowing is all about knowing when to stop.
Matt Frick 2010
Here’s one I gave to an old friend Dana Wester!!