Matthew Dommett
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Matthew Dommett
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?
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