I fell for the patchworks of color and stippled patterns of his landscapes at the Frieze New York art fair of 2017, in Karma’s booth. Matthew Wong cast the landscapes and interiors of Blue under the halo of the penumbra: the outer region of a shadow where light crosses over into dark. The scale used to juxtapose man to nature recalls the landscapes of traditional eastern Asian painting. A distinct pathway is cut into the landscape down the center and leads to the reflection of the setting sun glistening along the water. On the vessel, a stick figure is painted beneath some leaves, perhaps signifying man’s desire to hold on to or capture nature within his own structures. A smaller, untitled painting from 2018, made with gouache, portrays a vast, dark blue landscape punctuated at the center by a tiny car. Above, a sky of wide horizontal bands of blues and dark yellow suggests a tribute to the Color Field painter Kenneth Noland. The space behind or beyond the viewer’s sightline is compressed into multiple perspectival frames: a flatland, an imagined pictorial space—a vertiginous, almost medieval, approach.In previous work Wong frequently included a lone, reclusive figure set against the vastness of his imagined landscapes: a reference to the Romantic sublime or the lone literati eccentric. Maja Ruznic in Abstract with Figure July 1—July 31, 2020 James Fuentes Online. The estate of Matthew Wong and … Source: Read Full Article. Katsushika Hokusai, for example, painted “Thirty-six Views of Mount Fuji” (1760-1849), depicting powerful natural landscapes and man’s purposeful interactions with them. In a 2019 interview with The New York Times, his mother, Monita Cheng Wong, said, “He would just tell me, ‘You know, Mom, my mind, I’m fighting with the Devil every single day, every waking moment of my life.’” And still from this tortured mind emerged beautifully vibrant scenes that speak to the emotions of loneliness, melancholy and brightness inside us all.
Today, Blue, Wong's first solo exhibition since his untimely death, will begin at New York's Karma Gallery. 172 East 2nd Street. He then began taking pictures outside.
These dusky and nocturnal scenes were intended as the coda, or sundown, to a previous series of day-lit oil and gouache paintings. Her areas of interest span multiple art forms. Matthew Wong (1984-2019): A Brilliant Artist Pained By Depression. This volume compiles oil and gouaches by the self-taught Canadian painter Matthew Wong (1984–2019) developed for his 2019 solo exhibition Matthew Wong: Blue at Karma Gallery in New York. And in “Starry Night,” these strokes — in yellow, blue and black — define the surface of a dark lake, and, in light turquoise, the adjacent shore, where the daubs resemble radiant cobblestones. These geometric rays draw the eye to the edge of the dark, the highest point of contrast. Such a presence takes a deep purple path in “Solitude,” amid dark trees, with lighted buildings looming above. The bucolic scenes have a latent quality, having been improvised or painted from memory. In “The Old World,” they blanket the foreground, suggesting flowers but also indicate trees on a distant mountain. Add to cart. Figures are notably absent here but their presence is implied. It opened as planned on Nov. 8, with no works for sale.Reopens Thursday through Jan. 5 at Karma, 188 East Second Street and 172 East Second Street, Manhattan; 212-390-9279, From Matthew Wong’s show at Karma, “Starry Night,” 2019, one of many works that take inspiration from natural forms.In “Path to the Sea,” 2019, a mysterious journey leads through dense banks of trees.From left, “The Old World,” 2019; “Autumn Nocturne,” 2018; “Blue Rain,” 2018.Matthew Wong, “Unknown Pleasures,” 2019, is “a burst of song,” with a field of blue plant life leading toward a snow-capped peak.
These geometric rays draw the eye to the edge of the dark, the highest point of contrast. Every detail of Blue was conceived of by Wong and proceeds according to his wishes.Matthew Wong cast the landscapes and interiors of Blue under the halo of the penumbra: the outer region of a shadow where light crosses over into dark. In dialogue with a previous series of sunlit paintings, “Blue” begins at dusk and captures moonlit nights inspired, in part, by a trip Wong took to Sicily with his mother. Using mark-making reminiscent not only of Van Gogh but also of Yayoi Kusama, Wong makes fields and sky with a network of small dots and short strokes of color. There is less busyness and more areas of solid color, especially in the paintings of interiors. In “Path to the Sea,” the road leads through dense banks of trees to a view of gray surf that reads at first like a tear in a painted backdrop, or a porthole.
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