Selected works by Mat Collishaw

Mat Collishaw
Burning Flowers I

2003

Framed photograph

61 x 56 cm
Central to Mat Collishaw’s work are the themes of illusion and desire, which he uses to draw us into an arena where every-day conventions are broken down and questioned.
Mat Collishaw
Burning Flowers II

2003

Framed photograph

58 x 48 cm
Mat Collishaw
Burning Flowers IV

2003

Framed photograph

58 x 48 cm
Mat Collishaw states: “The type of adverts to be found on television and in glossy magazines are visually designed to have a power over the mind before they can even be questioned. The dark side of my work, primarily concerns the internal mechanisms of visual imagery and how these mechanisms address the mind.”
Mat Collishaw
Corona

2002

Ceramic, cement, wood, paint

350 x 490 cm
Mat Collishaw
Madonna

2002

Ceramic, cement, wood, paint

425 x 258 cm
Corona and Madonna have a historically epic quality. Corona disturbingly implies early 20th Century experimentation, Madonna’s timeless face is cropped from a photograph of an Indian woman taken after her village was destroyed in a flood. These tragic images seem all too contemporary with their digitised high-gloss finish. However, their surfaces aren’t photographs at all, rather they’re made up of tiny, cold ceramic tiles. Mat Collishaw uses mosaic to immortalise his subjects the same way images of saints and martyrs were rendered in early churches, but by doing so he replicates the process of image transmission over the internet.
Mat Collishaw
Bullet Hole

1988

cibachrome mounted on fifteen light boxes

229 x 310
Bullethole is one large photo, made up of 15 frames, fragmented like the panes of a stained glass window. At first glance, it’s unreadable, like an abstract painting. Then an image registers: a gaping vagina. It’s only with the full realisation that this is a close up of a head wound (taken from a pathology textbook) that the layering becomes complete: there’s a religious beauty and animal sexuality in something so abhorrent.
Mat Collishaw
Eighth Day

2002

Ceramic, cement, wood, paint

354 x 279.6 cm
Mat Collishaw can always find the intrinsically evil in photography. His subjects are often shocking and horrific – but it’s always the medium which is most disturbing. In The Eighth Day, Collishaw reproduces a photo of a real lynching found in an old book – but he does it in a monumental mosaic. Originally used in ancient times to immortalise gods, saints, and martyrs, mosaics were used to preserve timeless morals. But there’s something freakishly futuristic about Collishaw’s epic – black and white images are a modern invention, the miniscule tiles convincingly parody computer pixellation.

Articles

Mat Collishaw- Solo Show

Mat Collishaw fuses antique and contemporary technologies in his unique strain of moving-image sculpture, as precious as it is provocative. His jewel-like projections mounted in Victorian frames evoke a curious and dark science while a giant projection of a baby illuminated by ultraviolet light (used to inhibit intravenous drug use from public lavatories) crosses boundaries between the aesthetically seductive and the morally reprehensible.
Throughout his career Collishaw has appropriated all manner of disturbing images - pornographic images, images of suicide victims, a close-up of a head wound inflicted by an ice pick. He states :’I'm interested in the way imagery hits me subliminally. ... Whether I like it or not, there are mechanisms within us that are primed to respond to all kinds of visual material, leaving us with no real say over what we happen to find stimulating. The type of adverts to be found on television and in glossy magazines are visually designed to have a power over the mind before they can even be questioned. The dark side of my work, primarily concerns the internal mechanisms of visual imagery and how these mechanisms address the mind.’

Read the entire article here
Source: sitegallery.org


Mat Collishaw

Renowned for his photographs and video installations, Mat COLLISHAW elaborates works that refer to society's fascination with sex, violence and certain forms of depravity. The artist uses devices creating feelings of both enchantment and disenchantment in the viewer, often by incorporating images from the media in his work that confront the spectator with the reality of his surrounding.

In his first solo exhibition in France, Mat COLLISHAW will present new works using a range of different media such as photography, painting, video, installation and mosaic. Ancient techniques mix with new technologies, while historical references meet with contemporary concerns.

Face to Kristallnacht, the attention of the visitor is immediately caught by the spellbinding sparkles coming from the black and white pictures. Senses are captured by a kaleidoscopic effect given by the light situated behind the pictures passing through multicoloured polarised lenses. But at a closer look at the images, the viewer realizes that he is confronted with the horror of the infamous "Night of Broken Glass" of November 9, 1938 when the Nazis unleashed a wave of progroms against the German Jewish community.

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Source: cosmicgalerie.com