Matthew Woodward was born in Rochester New York in 1981. He was educated at the School of the Art institute of Chicago (BFA 05) and the New York Academy of Art (MFA 07). He has taught and lectured at schools and colleges throughout the United States.
Woodward has been an artist in residence at The Edward Albee Foundation, Cill Rialiag in Ireland, the Vermont Studio Center, MICAʼs Alfred and Trafford Klots International Program in Lehon, France, and is currently scheduled for the Pollock Krasner Foundationʼs residency in Provincetown, MA. His work has appeared in numerous publications including New American Paintings, and the Wall Street Journal, and has been reviewed by publications like Hyperallergic, Art Pulse, Chicago Art Magazine, Bad at Sports and Art Critical.
Currently, Woodward lives and works in New York.
Matthew Woodward's work during installation in the A+D Gallery, Oct 2014
Matthew Woodward was born in Rochester New York in 1981. He was educated at the
School of the Art institute of Chicago (BFA 05) and the New York Academy of Art (MFA
07). He is an instructor of Art at Dominican University and has given numerous lectures at schools and colleges throughout the United States.
Currently, Woodward lives and works in Chicago. In addition to On Big Drawings, another exhibition of his is currently up at The Comfort Station. He is represented at Linda Warren Projects.
Artist Interview: Matt Woodward
Art-Rated’s Sarah Elise Hall in conversation with Chicago-based artist Matthew Woodward,
AR: ... In the same way the viewer enters your work, slightly disoriented and tumbling into a complexity of meaning and experience .The viewer is confronted by materials and formats that challenge our notion of what it means to be a drawing, or to be architecture. Enormous scrolls of paper cascading from the ceiling to the floor, rolling out like a carpet into the gallery for the viewer to step on and make his own mark – to participate in the piece of art. Non-precious, transparent materials draped over the wall simultaneously revealing foreground marks and the cast shadows behind. Drawing/structures that seem to be disintegrating before our eyes. You progressively blur the line between drawing and three dimensional structures, testing new materials and ideas while you continue to embed them with a dislocated mark of history.
MW: With my own work, I am trying to emphasize the power of the material when it is isolated, to give it a sense of duration that is constantly present and tactically overwhelming like jealous replay. I’m trying to excavate from the surface, from the face, the fickle, problematic machinery between contact and boundary that is presented by duration and repetition, by intimacy and separation, these are, I think, some of Architectures bedfellow verdicts. And to take inside a limit that was supposed to mark an outside.