Recent Works by Andy Mattern

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Andy Mattern is currently pursuing an MFA in Studio Art at the University of Minnesota. His photographs are receiving attention not only within Minnesota but around the country for their depiction of human life without visualized human forms. Instead, influences from culture are mined to examine our technologies’ and abilities to create and express. His recent projects will be seen at The Katherine Nash Gallery in Mountains Were Oceans, opening March 30, 2012, and in Duluth at PRØVE Gallery (opening March 19, 2012). Just this week, Andy received a 2012 Minnesota State Arts Board Artist Grant.

MPB: Why DETACHED GARAGE?

AM: These photographs are from a recent body of work inspired by evening walks in the alleys of St. Paul and Minneapolis. The title refers to the structures pictured, but also to the experience of being separated from the activity of the street while wandering in the alleys.

MPB: In the series, every door is closed. Thematically, the back door or secret portal’s a personal and private place. But these structures are detached from their houses.

AM: My work often begins by locating a certain type of private space in which I can focus intensely and without distraction. The activity of photographing for me is similar to meditation because it is a repetitive attempt to focus on a single point while letting everything else go. I am enamored with the forms of these garages, their surfaces, shapes, and hints of individuality, but more important to me is the pursuit of solitude through seeing.

MPB: Is DETACHED GARAGE is an extension of your series, EMPTY BUILDINGS? 

AM: Inasmuch as an artist is always saying the same thing, albeit in different ways, yes, these two series are related. The connection for me is mainly in the experience of photographing and the desire to be alone, but certainly the content of the images and the way they are presented is similar.

MPB: What are DETACHED GARAGE’s influences? 

AM: The New Topographics has been a big influence on me, Lewis Baltz and the Bechers, in particular. Their formal and systemic approaches appeal to me because they create a method of engagement with the world. This method becomes ritual and the output, although ordered by a set of parameters imposed up front, becomes a surprise.

MPB: Why DRIVEN SNOW?

AM: Last winter was the 5th snowiest in Minnesota’s recorded history. During the months of astonishing cold, I noticed a peculiar product of weather and urban movement: masses of dirty ice and snow that accumulate under cars. I dislodged these forms from parked vehicles, or retrieved them from the street, and brought them back to the studio to photograph. Impossibly suspended in midair, these odd forms are presented like specimens, removed from their context. The visual result is something between scientific record and abstract painting that is a meditation on impermanence.

MPB: Do you have any anecdotal responses from your audiences about the work?

AM: Some people think they are rocks or even organisms. I like this uncertainty. Even though the objects are evenly lit and presented at life size, they are still mysterious.

MPB: What are the scales you present these two series’ work? 

AM: Detached Garage is printed 24×30 and the Driven Snow is printed with the depicted objects exactly to scale, one-to-one, which makes the paper size 17×22.

MPB: Other then geography and place, do you find similarities between these two series?

AM: Both deal with seriality. I am interested in the production of collections of images that work together. The repetition this entails is an important part of the process, not just as a generative strategy, but also as a psychological statement. I love looking deeply at closely related images, finding the nuances and variations. This type of seeing is similar to listening to the same song on repeat, over and over, each time you hear something new.

MPB: What are the next opportunities and venues to share your work to the public?

AM: My work will be in two group shows coming up at the Katherine E. Nash Gallery. The first, Regarding Place, is a continuation of the exhibition I helped organize this past summer in Turku, Finland with my colleagues from the Department of Art, Areca Roe, Jan Estep, Erin Hernsberger, Sam Hoolihan, Justin Newhall, James Henkel. This spring in the Nash I will be showing work with my fellow graduate students in our MFA thesis exhibition.

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