Cedar Shingle & Shim Stacks

Cedar Shingle & Shim Stacks

MATTHEW WEBER

 

 My sculpture and drawing activities investigate the expressive trace of natural phenomena and of human presence. These inquiries have guided specific projects focused on: 

  •  The physical and symbolic transformations/ imposition of a structured order on organic forms (architectural, geological, plant and animal systems). 
  •  Associative and semi-ambiguous indicators of material, place, gravity and scale. 
  •  The ordered and structured tendencies of human intervention explored through context, contrast, contradiction, impotence, folly and other plays on form/function trajectories. 
  •  Visual exploration of phenomena through manipulation of natural materials and environmental forms: 
  •  The underlying and symbolic structure of materials. (Wood growth rings, wood/stone grain, force of gravity on objects and liquids… clay slip and cement). 1. Tracing inherent visual properties of material. Responding to existing lines and patterns: camouflage, landscape topographies, macro/micro perspectives and organic form associations are dominant themes. 
  • 2. Contrast explored through applications of rough carved, chiseled, sawn, scraped surfaces emphasis the sculptural surfaces of natural materials. 
  • 3. Reductive/revealing (decay/erosion): Carving, sawing, splitting and scraping. References made to erosion, digging, mining and excavation rather than object/space creation. 
  • 4. Additive (forming/growth): Pooling, clustering stacking, layering, gluing and constructing accumulate smaller elements into larger forms and groupings. 
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Drawings based on observed imagery employ both abstract and representational intentions. Wood grain tracing or grain filling projects expose the graphic and suggestive imagery contained within the lines of wood. Landscape drawings seek to isolate and narrow the gaze of perception to amplify conditions of place, time and space appearance. The reduction of visual information, lends itself to abstraction, while also allowing associative visual qualities of shape, texture, gravity, negative space and scale to dominate and inform expression. 

Resume: 

EDUCATION: 

2000-2002 

University of Connecticut, Storrs, CT, M.F.A., Sculpture. 

1995-1997 

Hartford Art School, West Hartford, CT, B.F.A., Sculpture. 

1993-1995