You might have seen Martin Machado‘s paintings this month at Southern Exposure, read about his travels online at FecalFace, or maybe you have never heard of him at all. We got a chance to ask Marty some questions about his paintings, photography and lifestyle as a merchant marine. Check out what he has to say and make sure to stop by Gallery Hijinks January 8th, 2011 from 6-10pm to see his new works at the opening reception of “As it was before”.
Martin Machado at sea.
Gallery Hijinks: You’ve insinuated your art is not always about the destination but the journey. “Searching for piece of mind. Searching for the exotic. Searching for answers. Time slows at sea and life is stripped to its necessities.” Does this translate in your most recent body of work?
Marty: Ha, that quote was kinda tongue and cheek, but sure I think it translates, I guess in the sense that for me I’ll always fail when creating my pieces, they’re never going to be as perfect as the real world, they’re never going to completely capture the magic of a moment in time, the experience of being in that place. But to me that failure, or I guess attempt could be a better term, is what is interesting. Over the years I’ve tended to accentuate the “mistakes”, leaving evidence of the process of creating the composition/painting/etc. In a lot of ways this recreation mirrors the way we recreate moments in our mind, twisting them into something better or worse or whatever, to be able to wrap our brains around our own story or existence….Hmmm, could be getting a little heady here so I’ll stop…
Small Tender 35mm
Drifters, Bristol Bay, AK 2007 Oil, Fiberglass Cloth, Panel, Epoxy 18x36"
Drifters, Bristol Bay, AK 2007 Oil, Fiberglass Cloth, Panel, Epoxy 18x36"
Days on the Bay 2009 Gouache, Oil, and Spray paint on Panel
GH: How does the work that you are exhibiting in “As it was before” this January differ from your previous work?
M: I’m trying to get away from working with as many nasty chemicals these days, because I was using so much epoxy before, and I’ve enjoyed working on found materials, which to me just adds to the story of each piece.
Napkin Art
Napkin Art
GH: Nice. So what kind of materials are you using to create this current collection of works?
M: There is a group of small paintings on Arches paper with Gouache, a couple acrylic/oil paintings done on cardboard boxes that I found in an abandoned salmon cannery in Alaska, and possibly two pieces that were done just before these on fiberglass cloth and epoxy which are painted in oil.
Martin Machado box painting
Martin Machado box painting
GH: You are in a unique situation, where for most of the year you are out at sea. How has your profession as a commercial marine affected your art? Did you start painting seascapes only after you starting spending so much time at sea or was the interest always there and your profession just fueled it further?
M: Well not to get all snotty, but the term is “Merchant Marine”, but don’t feel bad nobody really knows it, as times have changed it has become a relatively unknown occupation in the US because its so small these days. I’ve worked on boats and ships for over a decade now, but it was only recently during grad school that I finally started bringing my personal “work” life into my painting. I don’t know if it was just me, but I felt the early 2000′s seemed kinda cynical, and I always thought I’d get made fun of or my work wouldn’t get taken seriously, if I painted the sea. But eventually I realized that I should paint what I’m passionate about and I began to see how painting a subject that is usually seen as “beautiful” could be an interesting challenge in the context of the contemporary art world. Maybe people think that is a cop out, but that is really how I feel about it. Its easy to make fun of everything, but to celebrate beauty, the sublime, I think that is a challenge. But I think I’m seeing a shift. My prediction for the next decade is POSITIVITY! Mark my words.
martin machado container ship
working on a container ship
GH: Who are some of your biggest inspirations in the art world?
M: Honestly other than painters like Friedrich and Turner, who are obviously not super alive these days, I’m more inspired by photographers like Corey Arnold or Ryan McGinley, or even writers like Hunter S Thompson or Jack Kerouac. I like people who get out in the world and look outside themselves. I hate art about art. Art should reach out to people, all people, to some core, and aim to unite, not alienate ourselves into some pretentious circle jerk. I have been inspired by a lot of amazing folks I met at SFAI though, Ryan Beavers, Ben Venom, Peter Cole, Carrie Hott, so many others
Corey Arnold photography
Corey Arnold Photography
Corey Arnold photography above
GH: Where and when are your next adventures at sea?
M: I’m not sure, definitely fishing again next salmon season, probably won’t be on a container ship for a little while, but I am really looking forward to spending a long chunk of time in the studio this spring. I have so many reserves of piece ideas that I need to hash out. I actually did a lot of traveling this fall, finally non-work related, using some money I saved from working so much last year, I was carrying a suitcase full of art supplies, actually a lot of this work was painted on the go, which is tricky but kinda exciting. But very happy to be home now in SF, I’m a total Christmas nerd and was in the middle of the Pacific last year, so I’m stoked to see the city all lit up. Happy Holidays, hope you like some of my work!
Marty in his element
“Somewhere in the classroom of my youth a larger person told me that the best work is forged out of what you are familiar with. I agree with this and have tried my best to live up close and personal to any subject that I want to make art about. And like the land artists Andy Goldsworthy and Richard Long, I think that it is not just the resulting creation, but the most ridiculous path you take to make it, that makes something great.” -Martin Machado
Marty + friends
Mi Bandida, Latex and spraypaint on wall. Location: Rio de Janeiro, Brazil
