Sebastian Matta - How Consciousness Becomes the Universe

In the history of art, a clear distinction can often be made between figurative and abstract stylistic movements. However, when an artist's goal is to represent an object that resonates with phenomenal reality but is also charged with hidden and symbolic meaning, this boundary can become blurred. Symbolism and Expressionism are emblematic stylistic movements in their conceptual interpretation of reality, with an iconic rendering of images and a symbolic interpretation in the use of color. Likewise, the messages of Sebastian Matta's works are always highly symbolic, with cosmic scope, reflecting this artist's fascination with pre-Columbian languages ​​and myths.

As we can see in this work, Sebastián Matta's art undoubtedly harks back to a primitive, tribal expressionism. The artist's synthesis reduces the figures to a sort of fetish from some pre-Columbian civilization. Matta, however, introduces elements typical of a contemporary sensibility. He breaks down space according to multiple directions with a pronounced geometric rationality, following Cubist influences. In this work in particular, the geometric element takes on a central role. To give his symbols a cosmic significance, Sebastian Matta imagines a highly articulated space, achieved through the opening of solids on the plane. The impact of this compositional choice is further enhanced by the creation of the relief structure. It seems to float within the space of the work, and Matta's fetishes move across its articulated surface, a reflection of the strong surrealist element in this artist's style.

Roberto Sebastián Antonio Matta Echaurren was a Chilean artist born in Santiago, Chile, in 1911 and died in Civitavecchia, Italy, in 2002. In his artistic training, he embraced Surrealism, along with Dalí and Breton, developing a series of paintings on psychological morphologies. In the 1970s, he embraced the poetics of the object, constructing the "Autoapocalisse," a house made of car wrecks as a critique of consumerism. In the 1990s, he began the series of obelisks and totems called "Cosmo-now."

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