Artist - in Residence, August 2020 at the Chateau d' Orquevaux in France!
Awarded with The Denis Diderot Grant
<<<<click on image
Recent Work 2020
Untitled , acrylic , oil on canvas cm 130 x 200
Do You Wish That We Show UP ? / pastel , charcoal on paper
November 2020 / London Chelsea
THE BODY LANGUAGE
ITSLIQUID International Art Exhibition
Venice, February 21 - March 22, 2019
Campo dell Abbazia 30121 Venice - Italy
Luca Curci talks with Matei Vogel during THE BODY LANGUAGE 2019 at the Misericordia Archives
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CRITIQUE SESSION FOR ‘SUMMER GROUP SHOW IV’ WITH ASHLEE RENZ-
HOTZ | JULY 27TH, 2018
On Friday, July 27th, 2018, NY-based writer and creator in film and theatre, Ashlee Renz-Hotz, held an artist critique session here at Onishi Gallery for international group exhibition ‘Summer Group IV’ through Onishi Project.
In this session, final in the series of summer annual group exhibitions through this project, Ashlee thoroughly interprets the multiple artworks within this impressive group, varying in mediums and origins, and offers her interpretation and evaluation. Through Onishi Project, we offer these critiques to help the participating emerging artists in their development and to introduce a re-evaluation of the artists’ works through the eyes of a professional critic.
Onishi Project’s ‘Summer Group Show IV’ consists of six international artists hailing from Mexico, Japan, Switzerland, India and within the U.S., with works consisting of mystical paintings full of iconology, abstract photography full of precision, drama and tension, multi-dimensional, expressive neon works of art, mysterious fantastical landscapes, depictions of the artists emotions, culture and life through color and unique full body self portraiture.
ARTIST, MATEI VOGEL, SWITZERLAND
The impressionistic works of Matei Vogel are beautiful in their composition as well as their execution. The artist expressed that his artworks are not planned ahead of time, rather, the concept comes to him as he looks onto the blank canvas. Our critics’ initial response was that these artworks were not created by the same artist due to the fact that they were all very different. She searched for a defining factor amongst them all, but ultimately, Matei expressed that there isn’t a clear line that defines him. He is constantly free flowing with his expressions and to the artist, he indeed sees a similarity between the three works he chose to exhibit, in their use of space. Our critic mentions that she would love to see what
would come forth if Matei composed work with an idea in mind or even a drawn outline, however, this would be difficult, given the artists process, which is constantly changing from at the time that the painting is conceived to completion. The artist uses the canvas as an empty vessel in which all of his ideas pour into.
Upon seeing ‘Departure’ in person, it gave the work a totally different effect. There is a shape to the left, above the ‘horizon line’ that becomes evident, and appears to be a person running through a field. Ashlee can smell the earth from this piece – the fresh grass and the soil. She feels a “purely sensual aspect” from the piece enjoys the use of the lighter tones, which is shared amongst all three works. This impressionistic work has much movement but is also solid as well, as our critic used the term ‘grounded.’ You feel separated from the world, as if you yourself are the abstract figural shape floating above the tall grass. It gives off a feeling of melancholy and solemnness but also, with the “warring strokes” of paint, gives an opposite sense of intensity and energy. The greens and browns seem to battle each other, pushing and pulling in the space, which adds to the depth of the work. As we moved on to ‘Revelations’, at first, it appeared to be strictly an abstract image, but upon closer examination, one makes out an eye within a socket, a mouth full of teeth, and there appeared a face. An otherwise abstract image became literal, and we wonder who this person is and what is their pain. Ashlee sees the figure as someone who is lost in the mist and weeping, with the streak of yellow signifying the figure’s cry for help. However, there is no one who will listen or the cry doesn’t reach anyone. In a way, she saw this as a reflection of human life – how we struggle to communicate but our words don’t reach anyone, no matter how hard we try. This work is very “delicate in it’s harshness” presenting the harsh reality of life in a delicate, ephemeral way with soft, beautiful strokes. And lastly, ‘Death and the Sea’, which had some similar elements to ‘Revelations’ in that it is aesthetically beautiful and somewhat eerie, with a sense of powerful undertones but also, helplessness. Two figures seems to be caught in the sea or walking out into the sea for some unknown purpose, as our critic notes, perhaps to their impending doom? Again, there is an uncomfortable feeling but the interesting colors and layering offer an interesting contrast and instead of the work being heavily influenced by death, dependent on the viewer, it would be uplifting and the two figures could be returning to land from the sea, or not in danger at all and standing in deep reflection while the sun sets on the horizon, turning the sky to a burnt sienna haze. Matei’s work has a way of evoking various feelings and emotions from the viewer, each very different, but in the end, as the artists works stay true to their spontaneity, the viewers perceptions of the work continue to be ever-changing and new.
EXHIBITION " NOTES FROM THE UNDERGROUND "CON" "TEMPORARY"
Stadthausquai 1 / 8001 Zürich