It’s a surprise and delight to discover I have been again included in the Top 100 Artists list of “Who’s Hot and Collectable in Australian Art.”
Compiled by a (mysterious) anonymous group of working artists, commentators, gallerists and collectors, the list contains an amazing group of artists, many of whom I am honoured to know as friends.
That photo from 7 years ago with the truely hideous haircut will, it seems, haunt me forever. But very happy to be included again in such esteemed company.
Article and interview in the always amazing Plastik magazine
https://www.plastikmagazine.com/insta-art/matthew-quick?rq=Matthew+Q&fbclid=IwAR3_HdGorfYrzH0PEw8FKe7Mf46uwtBc4_2RnBFsfGeVZ4yIwxdBZ5q-P9s
https://www.booooooom.com/submissions/monumental-nobodies-series-by-matthew-quick/
https://www.mikeshake.net/single-post/MONUMENTAL-NOBODIES-SATYRE-SOCIÉTALE-PAR-MATTHEW-QUICK
Plastic Magazine has a feature on my work, themes and life featured in the summer issue. http://www.plastikmagazine.com/feature/#/mathew-quick/
Plastik Magazine is an independent, award-winning visual, culture and arts magazine dedicated to new creative talents around the world, with a reputation for ground-breaking photography, fashion and editorial. Plastic is available in more than 50 cities around the globe, including London, Paris, New York, Los Angeles and Tokyo.
It's has been a long time coming, this one.. Got bumped from the last issue because Miley Cyrus got naked (again)for an exclusive Plastik shoo (as if anyone would be more interested it that than my paintings...) But then the timing couldn't be better actually, as this aligns neatly my next solo show (and my first in Melbourne for 8 years) which opens at Metro Gallery on August 18.
A recent interview with Give It Mouth.
Give It Mouth is a platform dedicated to spreading the ideas of those making a difference. They subscribe to the (kinda radical) philosophy that creative thinkers can balance artfulness and commercial reality. And give it a voice. Or as they put it; give it mouth.
In the course of our interview, Dr Naomi Skeletonburg examined the phycology behind the process and uncovered some surprising parallels between my crashing a paraglider into a forest and life as a creative.
“Tell us your name! … once more … give it mouth!”
Charles Dickens, Great Expectations.
Featured in the September issue of BL!SSS Magazine. So great to be featured along with some of my creative heroes such as Kris Kulski, plus various hipsters, models and surfer dudes.
Featured in the Age, the Sydney Morning Herald in both print and online editions.
Hellow!
A log on art and life from Mexico.
Widewalls have selected me as one of their favourite contemporary Australian artists. Widewalls is the ultimate resource for contemporary and urban art. They aim to provide a unique experience for its readers in form of in-depth and quality journalism.
This is what they had to say: The Melbourne-based Matthew Quick is one of those artists who release their works in series, which consist of pieces that are somehow interrelated and create a narrative collaboratively. Two series of paintings have brought him a great deal of attention – the Pure series from 2008, and more recently, the Monumental Nobodies. These series alone say more about the artist than anything else – he is a skillful craftsman, but a witty persona as well, apparently fascinated with mythology and history. The works from Pure series depict cloudy skies (awfully suggestive of symbolism, resembling eternity, Olympic gods perhaps, etc.), overlapped with a series of random inanimate objects. The other series is perhaps even more direct in its intent, representing the actual monuments from around the world, slightly modified by the artist. The well-known historical monuments are accompanied by objects and accessories from the modern life, which creates an ironical image that regards the significance of the fallen empires.
A webzine from Brazil. A translation from journalist Mylena Fontes is: The Australian artist Matthew Quick works mainly with classic painting, using very well the oil on canvas technique. Matthew plays with the image and aesthetic of classical sculptures. In this series he exposes a super contemporary theme with humor and criticism, where the statues are "victims" of an anachronism, a chronological inconsistency.
Influential French webzine UFunk have done a feature, with the following to say: The Australian artist Matthew Quick continues to play with the image and aesthetics of classical sculpture with its fun and offbeat creations, remorselessly abusing Greek statues, the works of the Belle Epoque and other representations from antiquity to great reinforcement of anachronisms.
Some numbers about Booooooom! 383,000 Facebook followers, 76,000 Twitter followers, 6.7 million Google+ followers, 126,000 Instagram followers. So good to be presented to that audience.
The team at WOW x WOW invited to be a guest writer and have my work featured on their site. It a great honour to be featured alongside so many of the great names in the contemporary art scene - who are defining the new visual language and how the future will see the present, one picture at a time. http://wowxwow.com/guest-blog/matthew-quick-gb
Subjects covered include: Influences and triggers, Shelly's Ozymandias, universal themes, the old masters and more
The Upper Playground has a story at http://www.upperplayground.com/blogs/news-upperplayground/8220-moments-of-clarity-8221-by-matthew-quick
This handsome hard-cover, full-colour monograph covers the past 10 years of Matthew's work. Written by Dr Shireen Huda of the Art Gallery Of New South Wales, it's 144 pages long and includes over 180 paintings.
The book launch and exhibition opens at 6pm, Thursday November 12, 2015
Nanda/Hobbs Contemporary
Level 1, 66 King Street Sydney.
Matthew Quick has no time to waste. Asked about Based On A True Story – the Melbourne artist's coming Sydney exhibition that doubles as the launch for his self-published book of the same name – he responds with a brief, potted history. "I'm on my sixth career," he explains, citing illustration, graphic design, writing (his 1991 book Of Gods & Everyday Monsters was short-listed for the Australian/Vogel's Literary Award), university lecturing, and art directing/copywriting. By his mid-30s, he had lived in Australia, the UK, Malaysia and Portugal, and was running his own successful design firm.
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The painting Pure Rationalism has been featured on the front cover of US magazine Nonprofit Quarterly. As a metaphor for teetering fragility brought about by the imbalance between debt and usustainable consumption - a fact Laurence Kotlikoff, Boston University Professor of Economics, has likened to a six decade Ponzi Scheme - there could be no more appropriate place for this painting to appear.
