Untitled (we are all posers)
http://www.celesteprize.com/artwork/ido:351429/
In Matthew Attard’s sculptures, metal wire and sheets of Plexiglas form seemingly abstract compositions which are transformed into figures in the hands – or better, the eye – of the spectator. Matthew bestows on the viewer the responsibility to visually complete the work of art, which does not allow for a passive experience but instead triggers a perceptive research mechanism.
The visual research, which consists in finding the favourable point of view for the construction of the image, offers the possibility to suspend the metabolised aspects of observation, initiating a compositional reasoning which is not habitual. It is in this suspended automatism that the contemporary spectator – saturated with daily images – recovers the ability to independently observe and find one’s own visual awareness. Attard’s work departs from the analysis of our poses, sometimes emerging as the result of natural instincts, sometimes as victims of theatrical simulation roles.
In Matthew Attard’s sculptures, metal wire and sheets of Plexiglas form seemingly abstract compositions which are transformed into figures in the hands – or better, the eye – of the spectator. Matthew bestows on the viewer the responsibility to visually complete the work of art, which does not allow for a passive experience but instead triggers a perceptive research mechanism.
The visual research, which consists in finding the favourable point of view for the construction of the image, offers the possibility to suspend the metabolised aspects of observation, initiating a compositional reasoning which is not habitual. It is in this suspended automatism that the contemporary spectator – saturated with daily images – recovers the ability to independently observe and find one’s own visual awareness. Attard’s work departs from the analysis of our poses, sometimes emerging as the result of natural instincts, sometimes as victims of theatrical simulation roles.
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