Matt Feyld’s exhibition, "Ten Paintings," is a selection of 10 white, off white, and light grey works, for their subtle differences, emphasizing the advantages of working with limitations. Feyld’s paintings function as concentrated examinations of surface, light, material, and color. The dots vary in size from one painting to the next, and no two paintings have the same colored dots.
The circular shape of the dots, creates a subtle tension when suspended within the square format of the canvases. This tension is furthered by the material conditions of each painting such as dimension, surface, color, composition, etc. The dots are not painted on top of the field of color, but are isolated early on in the layering process; leaving the dots recessed into the surface - allowing a glimpse into an earlier stage in the development of the work. The nuanced differences from one painting to the next are often felt before they are consciously perceived.
His use of water-based media - made through the application of hand mixed acrylic, and pigmented medium, absorbs light more than it reflects it. Typically between twenty and forty layers are applied to the canvas, with a brush, in numerous successive layers - until all signs of the original support are no longer evident; which helps to liberate the painting from it’s past, allowing the paint to stand on it’s own.
Following the opening reception, the exhibit will be on display through May 13.
Matt Feyld’s exhibition, "Ten Paintings," is a selection of 10 white, off white, and light grey works, for their subtle differences, emphasizing the advantages of working with limitations. Feyld’s paintings function as concentrated examinations of surface, light, material, and color. The dots vary in size from one painting to the next, and no two paintings have the same colored dots.
The circular shape of the dots, creates a subtle tension when suspended within the square format of the canvases. This tension is furthered by the material conditions of each painting such as dimension, surface, color, composition, etc. The dots are not painted on top of the field of color, but are isolated early on in the layering process; leaving the dots recessed into the surface - allowing a glimpse into an earlier stage in the development of the work. The nuanced differences from one painting to the next are often felt before they are consciously perceived.
His use of water-based media - made through the application of hand mixed acrylic, and pigmented medium, absorbs light more than it reflects it. Typically between twenty and forty layers are applied to the canvas, with a brush, in numerous successive layers - until all signs of the original support are no longer evident; which helps to liberate the painting from it’s past, allowing the paint to stand on it’s own.
Following the opening reception, the exhibit will be on display through May 13.
Matt Feyld’s exhibition, "Ten Paintings," is a selection of 10 white, off white, and light grey works, for their subtle differences, emphasizing the advantages of working with limitations. Feyld’s paintings function as concentrated examinations of surface, light, material, and color. The dots vary in size from one painting to the next, and no two paintings have the same colored dots.
The circular shape of the dots, creates a subtle tension when suspended within the square format of the canvases. This tension is furthered by the material conditions of each painting such as dimension, surface, color, composition, etc. The dots are not painted on top of the field of color, but are isolated early on in the layering process; leaving the dots recessed into the surface - allowing a glimpse into an earlier stage in the development of the work. The nuanced differences from one painting to the next are often felt before they are consciously perceived.
His use of water-based media - made through the application of hand mixed acrylic, and pigmented medium, absorbs light more than it reflects it. Typically between twenty and forty layers are applied to the canvas, with a brush, in numerous successive layers - until all signs of the original support are no longer evident; which helps to liberate the painting from it’s past, allowing the paint to stand on it’s own.
Following the opening reception, the exhibit will be on display through May 13.