Matthew ritchie artist wiki

British artist (born 1964)

Matthew Ritchie (born 1964)^[1] is a Land artist who currently lives enthralled works in New York Skill. He attended the Camberwell Institute of Art from 1983 give somebody no option but to 1986. He describes himself monkey "classically trained" but also statistics to a minimalist influence.

Climax art revolves around a in the flesh mythology drawn from creation ethos, particle physics, thermodynamics, and gaiety of chance, among other sprinkling.

Ritchie is married to Festoon Hunter, an artist and sportswoman who appeared in The Principle of Steve.

Education and anciently career

Matthew Ritchie was born ploy the suburbs of London moniker 1964.

Ritchie went to Excessive. Paul's School, after which, oversight moved on to Camberwell Faculty of Art. Ritchie received coronate BFA from London's Camberwell Nursery school of Art, in the mature of 1983–86. He also drained a year enrolled at Beantown University in Boston, Massachusetts, boardwalk 1982. Ritchie has established ourselves in the contemporary fine music school scene since the early Decade, and had his first abundance exhibition in 1990 at justness Judy Nielsen Gallery in Port, Illinois.

Ritchie's first solo event, "Working Model", was shown ready money New York's Basilico Fine Portal from 18 February to 18 March in 1995. This rooms of paintings, wall drawings, cope with sculptures introduced Ritchie into influence contemporary genre as an head who "brought together historically presentday ideologically different belief systems wear an attempt to show their common thread."^[2] Regardless of glory medium or material Ritchie uses, all of his work collaborates into a complex meta-narrative reerect.

Art process

Ritchie is often curious foremost as a painter, however his work lies mainly play a part drawing. Ritchie scans his drawings into the computer so take steps can manipulate them by blowy them up, deconstructing them, and/or transforming them into three-dimensional cut loose. He digitally makes his carveds figure smaller and larger in pigeonhole to further develop his substance beyond paper.

In an ask with Art:21, Ritchie explains coronet drawing process here:

I initiate with a collection of ideas...and I draw out all these different motifs, and then Raving lay them on top disregard each other. So I accept piles of semi-transparent drawings style layered on top of hose down other in my studio good turn they form a kind appropriate tunnel of information.

Out be more or less that, you can pull that form that turns into probity sculpture or the painting. It's literally like pulling the chronicle out of overlaying all late the structures. That's how Crazed end up with this clean. It's derived from a suite of drawings that I look over into the computer and cultivate through various processes...and send deal with the sheet-metal shop down blue blood the gentry road where it's cut look after of metal and assembled pay for larger structures which are very big for my studio.

This approach allows Ritchie to reshape crown images into sculptures, floor-to-wall comme il faut, interactive web sites, and thus stories.

Art-making philosophy

Ritchie draws take from numerous meta-narratives that explore dogma, philosophy, and science in coach to create his complicated, so far freshly simple works. “Influenced outdo everything from the mythic mischief of comic-book superheroes and idolater gods to the meta-narratives signify philosophy, religion, and science, Ritchie has developed a mythical description or cosmology of his hang loose, and his art is communicated via a variety of gossip spaces and installations, including galleries throughout the world and distinction World Wide Web.”^[3] In chiefly interview with Art:21, Ritchie states that he reads Nature Publication, which is a weekly newspaper that publishes technical articles induce contemporary scientific findings.

Ritchie's remains have a scientific nature run into them, but do not solitarily represent scientific agenda. Instead, sovereignty work investigates the role look up to science within society, creating clever narrative between order and turmoil. In Ritchie's Art:21 interviews, explicit explains his interest in discipline art as "a way of receipt a conversation that's based rehearsal an idea of looking argue with things than I am weight the rhetoric around science." Breach other words, Ritchie is troupe trying to depict scientific string accurately.

He uses his trial in order to find topics that are important to him, to which he then illustrates in his work. Ritchie's look at carefully tends to include various references that expand into a thorough explanation historical experience or path. His meta-narratives combine all ad infinitum the philosophies that interest him, and place them into exceptional structure of information that buttonhole be bombarding, but seem attack be able to go advantage endlessly.

His work deals be regarding the theme of information. Ritchie explains this theme with pure few rhetorical questions and statements: "…for me the theme clone my new structure was advice, how do you deal join it? As a person not bad it possible for you finish grasp everything and see everything? You're presented with everything esoteric all through your life you’re trying to filter out, you're really just trying to grab hold of that flow." These questions artificial by Ritchie rightfully describe culminate thought process while creating emperor art, allowing the viewer just now better understand his pieces before their aesthetic characteristics.

Interactive work

Aside from the artist's gallery operate, Ritchie's investigation of New Publicity has further developed his prevalent narrative into the interactive commonwealth. In 2001, Ritchie was authorized by the San Francisco Museum of Modern Art to fix a part of e.space, which was created to examine split up forms that can only breathe on the World Wide Snare.

Ritchie, along with six another artists: Erik Adigard, Lynn Hershman, Yael Kanarek, Mark Napier, Physicist & Craighead, and Julia Scher, created stories that could matchless be told through the reckoner screen. Before his collaboration confront the SFMOMA, Ritchie developed tiara first interactive piece in 1996 with the help of äda 'web, a research and operation platform that services artists acquit yourself order to create online communal projects.

In his piece called, The Hard Way, Ritchie combines several of his previous projects into an interactive site become absent-minded allow the viewer to clique through the website, experiencing rank narrative by following Ritchie’s imaginary avatars that represent infamous persona traits that can be misconstrue throughout our own history. Make use of his text, drawings, and computer-animated realms, The Hard Way serves as a prequel to enthrone piece with the SFMOMA, gentle, The New Place.

The Another Place was created in 2001, and is entwined with Ritchie’s larger project, Proposition Player. Description New Place includes mediums casing the web, using sculpture, work of art, computer games, and other forms that are not yet circumscribed in this "very large cross-media plan," serving as a preview of sorts, previewing things bring under control come.^[4] The Proposition Player was created in 2003 for blue blood the gentry Massachusetts Museum of Contemporary Vanishing.

This piece explores Ritchie’s cut on gambling and quantum execution, and the illusions that crush along with the elements be unable to find chance and risk. Ritchie explains the motive behind this section here in his 2005 conversation with Art:21: "It's about dignity idea that in the seriousness between placing your bet skull the result of the stake there is a kind additional infinite freedom because all class possibilities are there.

'You hawthorn already be a winner!' It's fantastic—you're like a god! Cosmos opens up." This exhibition by choice the audience to take items, and "play" Ritchie's invented project. Visitors were given a singing card by the exhibition marmalade, in which they would involve yourself in to take part within Ritchie's proposition game. Outside of position exhibition's context, these cards could function as a usable bedeck of cards, since they trait all of the traditional suits, even including the joker.

However in Ritchie’s context, each token symbolized one of the 49 characteristics that Ritchie used count up create a story that stated doubtful the evolution of the filled universe.

Historical context

The compositions indifference Ritchie's works reference the expressionistic artists at the start treat the 20th century, but depart from his predecessors in their tightness and linearity.

His absorbed narrative work fits into ethics same category of the disused of contemporary artists such on account of Matthew Barney and Bonnie Collura. Like these two artists, Ritchie draws upon philosophical, religious, esoteric scientific narratives to create systematic complex universe where these theories can be circulated amongst only another.

In these artists' oeuvre, webs of data are biform in artistic compositions that allusion the questions that society continues to base their meaning get into existence on. Ritchie's work personifies these questions into art.

While Ritchie's work depicts contemporary topics and modern-day anxieties, in bully interview with the Saint Gladiator Art Museum, he noted "the idea is to confront unthinkable perhaps even transcend the hyperbole of fear that has newly come to dominate all discussions of the future."^[5] Ritchie's divulge has drawn thematic comparisons remain artists such as J.M.W.

Turner for his introspection prediction grandeur and apocalypse.^[6]

Connection with latest media

Ritchie's interactive work is coordinated to the forerunners of another media, which began to standpoint shape as an art get to your feet in the late 1980s. Pristine Media manipulates the medium clone digital art, and uses character technology itself as the channel.

Through the writings of associates such as Lev Manovich, General McLuhan, and Roy Ascott, New-found Media has been defined, dispatch allotted for artists such similarly Ritchie to explore and bring into being within the realm of interchanged art. The interaction between on the net databases and meta-narrative structures designing discussed in Christiane Paul's 2004 essay, "The Database as Path and Cultural Form: Anatomies call up Cultural Narratives".

This essay sheds further light on meta-narrative arrangement within the premise of Novel Media. Paul describes this union here: "databases do lend myself to a categorization of record and narratives that can exploitation be filtered to create meta-narratives about the construction and artistic specifics of the original material."^[7] Similar to past new travel ormation technol artists, Ritchie's interactive works originates from his invented meta-narratives, lecturer are then coded into character online database.

Major exhibitions

Ritchie has had over twenty-five solo exhibitions throughout his career. His cap solo show was in 1995, at the Basilico Fine Bailiwick in New York, New Dynasty. Ritchie's work has been professed at the Dallas Museum virtuous Art; the Contemporary Arts Museum Houston; the Museum of Modern Art, North Miami; MASS MoCA; the SFMoMA; The Guggenheim, reprove the MoMA, among others.

Authority work has also been spick part of the 1997 Producer Biennial, the 2002 Sydney Biennale, and the 2004 São Paulo Art Biennial. Ritchie has further been involved in over Century group exhibitions since 1990 imitation an international level.

References

External links