“It does feel like I'm taking stock,” says Stone. “Hole is an amazing space and it's a big space, so there is a lot of temptation to try and give an overview of what I have done or where I have come from. I decided with this show, though, that I wanted to do something almost entirely new. I'm at a point with some of my processes where I can comfortably push them forwards and this show has given me the opportunity to really do that.”
Rules Forever (Installation shot) by Matthew Stone, 2011
Taking 2D images and translating them into “3D photographic sculptural forms”, printing on fabric and geometric birch wood constructions, Stone is currently experimenting with abstracting the body. “I like the idea of trying to make something that has some solid ground, but then has the potential to move. I like the idea that it is almost impossible to re-install the work in exactly the same way.” By creating images that are in part recognizable, but offer new and constantly changing views, Stone is looking to suggest other ways of perceiving our own physical existence. “I'm always photographing bodies but as a way to escape the body. I'm representing it as a piece of technology, a tool to reach different states of mind,” he says.
Forever Rules by Matthew Stone. Oak, hinges, fabric & inkjet photographic print on plastic, 2011.
For his first step onto the New York art scene, Stone is making a bold move — presenting not only an exhibition of newly conceived sculptural works but also the performance piece, Anatomy of Immaterial Worlds, which suffered mixed reviews during its showing at London’s Institute of Contemporary Arts. The performance starts as a piece of music but devolves into a monotonous repetitive tone based on shamanic drumming with the intention of putting the audience into a semi-trance state.
“Some people saw visions and heard voices—one person said they were talking to penguins and a quarter of the audience walked out,” says Stone. “At the end someone stood up and started screaming, ‘Who is responsible for this!? Who would put something like this on at the ICA!?' In some sense, I saw that as validation.”
Collective Order (Open Heart) by Matthew Stone, 2011
Matthew Stone, Optimism as Cultural Rebellion from November 1 – December 10 at The Hole Gallery, New York.
Anatomy of Immaterial Worlds will be shown as part of Performa 1, also at The Hole Gallery on November 3 at 8PM.