While the majority of Matt’s influences include Art Nouveau artists Alphonse Mucha and Gustav Klimt, the influences of artists such as Herbert Draper, Gustave Dore, John Singer Sargent as well as Maxfield Parrish, one of the renowned illustrators from the “golden age of Illustration”, are equally apparent. Introspectively drawing his own inspiration from self reflection, personal experience, and an inept talent for what he refers to as “visual method acting”, Matt has instinctively merged conceptual twists on conventional artistic themes with spiritual and philosophical concepts to interpret the most fundamental of human emotion and action into his visions, resulting in a strange and remarkable melange, now known as Gothic Art Nouveau.
“When I become deeply affected by the tragedies of others I engross myself in their world and their experiences. This “visual method acting” as I have come to refer to it allows me to convey a small portion of their tragedy, sorrow, or experience to my audience in a way that is both confrontational and evocative. My voice is unique and through my work I intended to shout my thoughts and whisper my demons away.” (1)
And in that spirit, here is Judith. Standing straight and tall, the victor. Holofernes’ head tucked beneath her robe. But she is not celebrating – not pointing to God or waving her trophy before the crowd. Instead, she seems ambivalent, caught between emotions. Resolute and determined to complete her chosen course of action, anxious to make her escape and her revelation to the crowd, concerned that she made the right choices for herself as well as her city – and perhaps somewhat dismayed that she had to be manipulative and murderous to achieve her objective.
Are any difficult choices ever without regret?