Interview: Matt Frock

INTERVIEW

Conducted by London-based art columnist, Noah Davis. (www.wowwart.com)

Can you discuss how your education at the Rhode Island School of Design and The University of the Arts has influenced your artistic style and approach?

My paintings are inspired by Howard Hodgkin. My earlier work was inspired by Van Gogh and Kandinsky. There’s always been an art historical root to my work. Art History was thankfully drilled into me at RISD. It’s the lens through which I see the world. My work has always incorporated balance and color as a primary starting point. Having a clear objective and being willing to sacrifice all in order to affect the most perfect result has always been an important ethic in my practice. Nothing on the work table is precious. At RISD, students are encouraged to make mistakes and take risks as an essential part of learning and the creative process.

In 2005, I met my mentor, Eileen Neff at Uarts. “You can make anything you want here. Are you sure that’s what you want to do?” This is the question that best sums up Eileen’s mentoring. She had the courage to say what needed to be heard. As a result, I learned not to be over-lead by process and the importance of having a vision. When these two are working together, you end up discovering something more fantastic than the original idea.

How do you identify and choose the media and information you consume to inspire your work?

It’s more about tending the garden of the mind, than it is subject matter. There has been a continuous flame in the back of my mind that’s been crackling since I learned to learn at RISD. It’s a flame that needs to be fed with the latest discoveries regarding the latest truth that I can’t believe I never knew before. Of course, I’m talking about passion, but for me this is how the engine runs. The painting process is part of the way I digest information. The titles, environs, and characters that immerge in my work are like shadows cast by the flame of discovery.

In what ways do you believe intentions play a role in the creative process, and how do you cultivate your own intentions while working on a piece?

When I’m working in the studio, my intention is to learn something about the act of creation and the nature of beauty. In my experience, generosity is the most fruitful path when it comes to the creative process. Rather than showing and telling it’s better to provide an experience and create something that can be interacted with. Acting with love and sharing is always the best way to attract the attention of the Muse.

Can you elaborate on the concept of the Muse in your creative process and how it manifests in your artwork?

When I’m working in the studio, taking risks, listening to my instincts and generally holding to the idea that nothing on the work table is precious creates space for the Muse to participate. Creating the space is an act of divination. In the past, I prefaced this statement with “I believe,” but I’ve been working creatively long enough and have had plenty of conversations with creatives to confirm that the Muse is a very real thing.

The Muse is a force of creative energy that can be attracted by anyone, but artists – for obvious reasons – come in contact with it the most. When you have an idea that inspires you to action the Muse is attracted. Typically, the creator is set on a probationary watch by this force. It’s possible that more than one person could be working on the same idea, so the force knows somehow to start with a simple wink. As the idea manifests, and grows over time – it takes on physical form or more people get involved – then the force begins to participate. For example, what seemed like a terrible mistake may turn out to be the most important event of the whole process, positively transforming the work in a direction no one had considered. Similarly, artists regularly report impossible synchronicities, miracle events, and heroic interventions of all kinds. We simply don’t have these experiences if we’re not working creatively.