141. MATTHEW
RITCHIE
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Emissary of the Hour
2013 oil and ink on linen (142.2 x 188 cm) |
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This Garden At This
Hour
2013 Aluminum, steel, polyester, composite stone, plants Installation view: Food & Drug Administration White Oak Federal Center, Maryland |
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Remanence, 2015
Installation on the Sandra and Gerald Fineberg Art Wall |
BIO & STEPS
Born:
In 1964 in London
Nowadays:
Lives and works in New York City
Studies:
1983-86 BFA, Camberwell School of Art, London
1982 Boston University, Boston, Massachusetts
Themes and
style:
Ritchie is often seen foremost as a
painter, but his work lies mainly in drawing. Ritchie scans his drawings into
the computer so he can manipulate them by blowing them up, deconstructing them,
and/or transforming them into three-dimensional pieces. He digitally makes his
images smaller and larger in order to further develop his ideas beyond paper. This
method allows Ritchie to reshape his images into sculptures, floor-to-wall
installations, interactive web sites, and short stories.
Techniques:
Is
developed in paintings
Exhibitions
Ritchie has had over twenty-five solo exhibitions throughout
his career. His first solo show was in 1995, at the Basilico Fine Arts in New
York, New York. Ritchie's work has been exhibited at the Dallas Museum of Art;
the Contemporary Arts Museum Houston; the Museum of Contemporary Art, Miami;
MASS MoCA; the SFMoMA; The Guggenheim, and the MoMA, among others. His work has
also been a part of the 1997 Whitney Biennial, the 2002 Sydney Biennale, and
the 2004 São Paulo Art Biennial. Ritchie has also been involved in over 100
group exhibitions since 1990 at an international level.
See more at:
Representative
Galleries:
Andrea Rosen
Baldwin
Gerhardsen Gerner
In
his own words:
I start with
a collection of ideas...and I draw out all these different motifs, and then I
lay them on top of each other. So I have piles of semi-transparent drawings all
layered on top of each other in my studio and they form a kind of tunnel of
information. Out of that, you can pull this form that turns into the sculpture
or the painting. It's literally like pulling the narrative out of overlaying
all of the structures. That's how I end up with this structure. It's derived
from a series of drawings that I scan into the computer and refine through
various processes...and send to the sheet-metal shop down the road where it's
cut out of metal and assembled into larger structures which are too big for my
studio.
For
more Information: