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拍品专文
This work is accompanied by a certificate of authenticity signed by Germana Matta Ferrari, dated 25 April 2018.
“The element in which he immerses himself has nothing to do with the air that we physically breathe. His world, which is outside of lived realities, takes us on a journey through these immense irrational constructions which still seem familiar because they remind us of dream states.”
André Breton
In 1963, the year in which he created Untitled, Matta reached a level of accomplishment and recognition which took him beyond Europe. The artist travelled extensively, absorbing different European and American cultures as well as Latin American influences, through his visits to Chile, the country of his birth. This was also the year in which Pontus Hulten gave him his first major solo exhibition in Europe, at Stockhom’s Moderna Museet. While his earlier works focus on an exploration of the human subconscious, in his 1950’s canvases we see the artist re-appropriating the pictorial space using concepts from architecture, science and physics that he had previously studied. Matta developed the complexity of his anthropomorphisms from the previous year and reoriented his visions of infinite space. In 1955, he began to cultivate a renewed interest in physical action and further pursued complete automatism, putting the act of painting back at the center of his artwork.
Untitled is representative of this period, with its moving environment, its satellite forms both mechanical and ambiguous looming up from the canvas, and transports us into the artist’s world and his imagination. His work expresses all the resources of the unconscious, with a complete spontaneity described by William Rubin as “an infinitely deep space that suggests simultaneously the cosmos and the recesses of the mind.” [1]
1) Exhibition catalogue, Matta Making the Invisible Visible, Brighton, Massachusetts, McMullen Museum of Art, Boston College, 2004, p. 50.
“The element in which he immerses himself has nothing to do with the air that we physically breathe. His world, which is outside of lived realities, takes us on a journey through these immense irrational constructions which still seem familiar because they remind us of dream states.”
André Breton
In 1963, the year in which he created Untitled, Matta reached a level of accomplishment and recognition which took him beyond Europe. The artist travelled extensively, absorbing different European and American cultures as well as Latin American influences, through his visits to Chile, the country of his birth. This was also the year in which Pontus Hulten gave him his first major solo exhibition in Europe, at Stockhom’s Moderna Museet. While his earlier works focus on an exploration of the human subconscious, in his 1950’s canvases we see the artist re-appropriating the pictorial space using concepts from architecture, science and physics that he had previously studied. Matta developed the complexity of his anthropomorphisms from the previous year and reoriented his visions of infinite space. In 1955, he began to cultivate a renewed interest in physical action and further pursued complete automatism, putting the act of painting back at the center of his artwork.
Untitled is representative of this period, with its moving environment, its satellite forms both mechanical and ambiguous looming up from the canvas, and transports us into the artist’s world and his imagination. His work expresses all the resources of the unconscious, with a complete spontaneity described by William Rubin as “an infinitely deep space that suggests simultaneously the cosmos and the recesses of the mind.” [1]
1) Exhibition catalogue, Matta Making the Invisible Visible, Brighton, Massachusetts, McMullen Museum of Art, Boston College, 2004, p. 50.