Connected \\ January 25, 2022
A word with Matt Clark
Guests in the exhibition. Photo by Kathy Tarantola/PEM.
Q: Can you describe how the gallery experience manipulates our perception of space?
A: You get lost in this other world. You've got this strange juxtaposition of things going on between the water, the organic and the digital, between the past and the future. It's super uplifting, but very melancholic at the same time. You have all these contrasting things that on paper shouldn't work together, but somehow, it does. It does take you somewhere else. That's what I strive to do. For very selfish reasons, I want to be lost in the work and forget about the day to day for a bit. That's what this space does, why people hang out here generally for a fair bit of time.
Q: How is this exhibition a universal experience?
A: It creates this space for discussion. I'm always learning something new from Bernie about the world, how we perceive the world through sound, and how it can affect our health and well being. It's an ongoing conversation and a platform for that conversation. As Bernie says, it's a universally understood thing. It doesn't come with cultural boundaries or influences. It's quite unique in that sense. It's so multi-layered. At the same time, it's so visceral and immediate. It's not super conceptual. Anyone can get it. That's what I like about it.
Q: What do you want visitors to take away from this?
A: To create a discussion, to get people excited about the natural world and to understand it. The natural world has obviously informed how we make art and how we do all of our creative things. It's only by seeing this sort of thing that you understand how important it is just not from a natural point of view, but cultural point of view as well. To contemplate on the things that we take for granted, what we're doing to nature, how precious it is, how potentially in the future, this might be all we have left of the natural world, these recordings.
The Great Animal Orchestra is on view until July 10, 2022. To learn more, read this review in The Boston Globe, where Murray Whyte writes, “I can still hear the echo of the near-verbal cry of the Hadada ibis, seen in a flash of tremulous green in Dzanga-Sangha.”
TOP IMAGE: Matt Clark of United Visual Artists is interviewed just before the opening of The Great Animal Orchestra. Photo by Kathy Tarantola/PEM.