This winter, MathewCerletty showed his latest, and largest, suite of paintings at Karma in Los Angeles, a portrait gallery of American artifacts. Here he speaks with frynaomifry about his curious devotions.
CERLETTY: And paintings are meaningful. Somebody’s going to make them by hand, and I know a lot of traditional techniques. What I want to find to plug into that is something typically undeserving or surprising as a painting subject. I want you to wonder.CERLETTY: I’m one of the best sconce painters, yeah.CERLETTY: I Googled sconce. Some of them I did from scratch. I worked with a photographer. I’ve done that on a few of these, but when I just can’t find the right sconce I have to do it myself.
CERLETTY: It’s incremental. I’m pretty careful. There’s such a long process of testing it out. These images are all built on the computer way before I have any paint out. I’ll print it and pin it to my wall and it might sit there for a year or something and not happen. Like for the [painting], I thought “Okay, that could be sort of interesting and slightly provocative.” I think I tried Stanford and Harvard and a bunch of schools and it just didn’t work and I put it away.
FRY: It’s interesting because it is a feeling. Like when you say, “Oh, it can’t be Harvard or Yale, it has to be Dartmouth,” or it could be Williams or something?FRY: There’s a specificity there. Obviously your choices are very careful and require a lot of work to bring them into fruition. But just hearing you talk about it, it seems that a lot of it is based on a feeling that has to do with color and texture.
CERLETTY: My mom had the tape, and I would come home from school and take it off her shelf and watch it. And I felt like I was doing something wrong. It was, like,
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