Matthew Dommett

Matthew Dommett

£650.00

Plus 20% VAT if applicable

Like Boredom, 2020

Acrylic on MDF board

60 x 60 cm


About this Work

These paintings, as objects, have been subject to different experiences. The works aim to narrate these experiences through reductive means. Although the acts themselves were performed with sincerity, the irreverence of their communication makes light of this and puts into question whether the experiences actually took place at all. In Like Boredom, a meditative endurance exercise has been reduced to a cheap, crass novelty. The work examines the relationship between authentic experience and semiotic exchange, questioning the subjectivity of the former in consideration of its dependence on the latter, to the end of maintaining a kind of phenomenal presence, or post-experience, through communication and memory. The works also examine the effect that experiences have on material objects: do these objects appear to be "imbued" with their experiences in a similar way that artefacts are?

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About Matthew Dommett

Matthew Dommett is a London-based artist and graduate of Central Saint Martins, MA Fine Art. Dommett has Aspergers, and incorporates this into his practice, exploring the difference between interpretations according to certain neurotypes. He makes irreverent, playful work that underlines the inherent problem that experience can only be communicated through reductive means.

Dommett’s practice gestures to the quasi-fictional nature of phenomena, considering our dependence on internal processes that both construct and distort experience. Through exploring the relationships between objects and experience, Dommett questions the capacities of communication and the role this plays in the construction of speculative history. In part, these interests have developed in response to the Romantic painter William Turner’s alleged act of tying himself to a mast during a storm, so that his work could express itself with sublime qualities. Dommett often seeks to charge objects with experiences so that he can see how such acts inform their phenomenological qualities, while also considering how this response is affected by the means of communication that limits experience to narrative. This enquiry is driven by research into the laws of sympathetic magic, semiotic theory, psychology, and philosophy.

Education

2017 – 2020 Central Saint Martins, UAL 

2016 – 2017 Cambridge Regional College

Exhibitions  

2021

Boys Don’t Cry – Island, Unit London, Mayfair

Boys Don’t Cry - Behind the Glass, Lethaby Gallery, London

2020 

Moving Past, Moving Closer: Nostalgic Encounters, The Saatchi Gallery, London

Tate Exchange: SALE, Tate Modern, London

 

Collections

Office of Penny Mordaunt, MP

The Cabin, SEND facilities at Comberton Village College