Matt Skinner `and transit'

Olivia Poloni: How did the title `and transit' come about and how does it relate to Allan's Walk?

Matt Skinner: Generally my work was only hung in my house. I have attended exhibitions in group shows. In group shows only single pieces are to stand for what I'm doing, thus the context larger bodies of work bring to single pieces has existed only at 67A Ellis St. Indeed the movement from home to gallery setting is a brand of movement the show's title wishes to reference however, what has been overlooked is the suggestion that both print process and art referencing share links with the title. The context the solo show offers makes this clear visually.

.What themes do you explore?

My work is always on the move. I place cameras where they shouldn't be. I guess ideogramish. I place a hatstand or a figure where it shouldn't be, to leave it hanging it `that' place. It questions space and its relationship with objects and contemporary art. The exploring of the shift from 3D to 2D is only a means to an end - transcribing itself is not a major source of motivation. The bi product of the shift e.g. the resolution of performance works in silence, the referencing of ready-mades through the vocals of timely print process, is of higher interest. It talks of the barriers inherent in mediums, in both a positive and negative light. These barriers attract me rather than the transcribing of various types of space, form and movement.

What medium do you use?

Printwork - mostly aquatint and drypoint. I'm not really a traditional printmaker; I use printmaking as a base. There are works in the show at Allan's walk that are aquatint and acrylic underlay. It was a nightmare to do, so have only limited myself to two works of that medium, but I still love to experiment with the printmaking process.

What type of editioning process do you adopt?

Ideally I prefer one edition, so that the works are a unique state. At the moment I am printing two editions for everything, one for the exhibition and one for my honours work. I regard myself as a printmaker for it is the medium I flesh out ideas with. The processes involved leading to the initial print is something that should not be separated (nor can it be separated) from the finished visual and theoretical concerns of any print. However, once an image is printed I tend to leave it at that, the skill to print immaculately is not something that keeps me in a studio everyday.

How long have you been practising?

Started 1st year uni in painting and did that for 2 years. I was young, being first year uni and wanted to drink and have fun. We were taught a lot of modern philosophy and art, and I used this as an inspiration in my art at that time. The drawing skills have always been there, but I don't always use them. I have now been doing printmaking for 2 ½ years and this is my honours year. I am hoping that the work I produce for the exhibition at Alan's Walk will end up having an undercurrent theme and likeness, so I can work with these images for my honours assessment.

What are you inspirations?

Don't ask that question! Gee, well I enjoy ripping open books and drawing inspiration from everyday objects. I gain inspiration from the process of the medium. Process is something that printmakers talk too much about, but it is important. I love the process. It is the process that makes printmaking unique.

How do you feel about the place printmaking takes in contemporary art?

We have a visual language these days that encompass a huge variety of mediums and so for me to use such a traditional art form makes quite a comment. I can't express sound or video, I can only represent it. It is even more interesting to note the direction of contemporary print making. I had a conversation the other day revolved around someone defending wood engravings in a contemporary context from a different direction to myself. She was suggesting that the costliness associated with wood engraving was misconceived. Cheaper products are available if one is willing to think abstractly e.g. the use of particular inexpensive pine coasters as substitutes for wood blocks that are infinitely more expensive. I was coming from a direction that supposed the problems associated with printmaking become the vehicle into a modern landscape. These problems (e.g. cost/ lengthy procedures) have been overcome digitally and so it features as modern comment to indulge in these problems. Traditional printmakers aren't still utilizing traditional technique because they lack the facility to adapt - they're doing something much more prolific.

▪