Matthew Rimmer

2018,  BA (Hons) Painting and Printmaking, The Glasgow School of Art 

"In my work popular culture acts as a framework for sculpture and painting, informing their material and making processes which in turn encapsulates the experience of unconventional aesthetics found within yet separated from fine art. Currently informing my practice is the source of aquariums, 'aquascaping', and the fish keeping hobbyist subculture and the objectivity, escapism and ‘hyper-masculinity’ inherent to the history of minimalist and abstract art. Privilege as a white male artist and its presence in artwork which I aspire to is purposefully conflicted by an effort to highlight and subdue it through parody. This is achieved through a process of elimination; by finding that something like an aquarium has physical connotations to the minimalist aesthetic, I am beginning to question what separates an abstract object from description, and by identifying as an 'aquascaper' (someone who designs underwater aquarium landscapes) who makes minimalist sculptures, I am referencing kitsch within a sublime image.
Perpetuating the style of minimalist sculpture in a contemporary setting and using it for personal expression, I aim to critique its masculinity and my own. I am performing an art movement that symbolises my identity in its raw state, the minimalist movement being a metaphor for the emotionless and intellectualizing part of masculinity that I try in my everyday life to disconnect from. The appropriation of this is ridiculed through whatever theme I am following at the time, which is usually personal to me outside of being an artist. However, I do believe that any contextualisation is a secondary experience to the aesthetic and that it is important that my work has the freedom to act as its own object in a space, the non-descriptive nature of my imagery allows for this and encourages the audience to question it. When making an artwork I am fundamentally interested in one colour reacting to another, I consider this the key element of most of my artwork, and its part of what links the sculptures i make back to painting. I see myself as multi disciplined in this sense. "
Safety Glass.jpg
Safety Glass
25 cm x 20 cm x 20 cm 
Upside-Down Water.jpg
Upside-Down Water
50 cm x 40 cm x 40 cm
70 cm x 20 cm x 20 cm