1.6 Matthew Harris and Genevieve Felix Reynolds - Galerie Pompom

Transcript

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When we talk about art, it feels like there’s too much emphasis on getting it. We want to talk about it like how we talk about music in movies. This week we’re at Gallery Pompom in Chippendale to see art by Matthew Harris and Genevieve Felix Reynolds. We’ve posted all the pictures from this show on our Instagram at hungup.au.

Yeah, look at that bone, dude. I love that. Alright, let’s talk about that first. There’s two skeletons, gay skeletons, that have each got these like bone dicks. And they’re like, one’s fucking topping off the other one with his bone boner in his hand. It’s fantastic. They’re in a graveyard. And like… It’s got like a smile.

Yeah, exactly. That’s what I was gonna say. The bottom one, like, yeah, it’s just like these little, like, line paintings, like super simple. It looks like The Simpsons. Yes. It reminded me of The Simpsons. Yeah, the whole, all the paintings here have this like, kind of fun comic book sort of energy. But yeah, I like, you were talking about the smiles, like, the guy on top is like, looking down, like, holding the back of the other guy’s head.

And he’s fucking digging it. He’s got this like, cheeky ass, like, the smile. The smile. He’s got the dumb smile. The dumb smile of like, I’m getting head. Smile. I don’t want to say, I don’t want to say the guy on bottom is like, not into it, but he’s like, focusing. It’s focused. Yeah, it’s true. It really captured like, the two ends of giving and receiving head.

It’s true, yeah. I like it. Yeah, okay. So, right next to it is the one that is this one that I like to do. It’s just like a bunch of sperm with the cheeky like, they’re biting their bottom lip face. It’s got like fangs. And like, little eyelashes. And it’s like, like a wallpaper or something, because it’s just endless. Yeah, totally.

Yeah, so the, like, what’s it called? Cream Dream is like the, the wallpaper, like the endless wallpaper of like, toothy jizzes. Yeah. Like, up and to the right, like for infinity. Yes. Um, yeah. And I was kind of thinking of like, graffiti and like, ancient graffiti.

It’s like, the dick and balls or like, what? Like, Ricky Gervais in like, his fucking 2005 podcast calls them like, spunking dicks. And how they’re like, eternal. Like, this eternal and like, ever present spunking dick. Like, spunking dicks. And yeah, they kind of like, like, it is just funny and it’s just a pattern.

Yeah. And it’s like, silly. But it also like, in this like, endlessness of like, humanity and creation. Like, I’m definitely getting some, I got like a spiritual connection with Cream Dream, you know? Yeah, yeah. This stuff is great. It’s so different. Yeah. Let’s talk about this one. I love this one. So it’s like, some big monster is like, devouring a baby starting with the arm.

And the baby like, doesn’t care. The baby’s kind of into it. Yeah. But the baby has like, yeah, it’s like a cartoon character. It’s got these two little like, underlines under its eyes. Yeah. Which is kind of like, it’s like, kind of like that like, everything is fine meme. Yes. Like, as the house is burning around you. True. The baby like, doesn’t mind, but it’s like, kind of lurky, really stressed about being

into it. Yeah. When I turn my head to like, be with the baby, it looks a little bit concerned. Oh my God. Like what’s going on. The baby’s eyes are like, in different directions. Yeah. Slightly. It’s got the kind of like, that sort of cheek outline on the edge of its mouth that they do in comics. And then check it out, the monster’s got a Chanel necklace on. Yeah, exactly. Yeah.

So it’s like, we’re like, bird’s eye view of the whole scene. Yeah. And you can just see the monsters. He’s got, he or she has these like, nice green arms and then three little yellow claws. That’s wonderful. There’s so much about like perspective and like, and like a physicality that’s just like done away with like the bone sticking out of the arm.

Yeah. And like, how are you gripping those bro? Like, have you got thumbs? Yeah. Yeah. But also the candlestick is like flat. Yeah. It’s flat on. Yeah. It’s fantastic. You bang on. Like the perspective stuff is, is really fun. Yeah. It’s cool. These are all like little like snacks, all these paintings. Yeah. Yeah. Okay.

Now we’re like a bigger one. And like in the background we have like a castle and a big mountain and there’s like a yellow, a nice bright yellow path, like winding down the mountain. And there’s like a fucking, what do you call it? Like a street where sad boy, like Frankenstein monster with like nikes on. And he’s like holding a flower and he’s kind of like, I don’t know.

Has he just been like rejected or something? There’s some kind of like love lost. Yeah, exactly. There was some like heartache thing going on. Yeah. The fucking pants, like how traditionally they are. But like in this, in this like outfit, they’re like part of the outfit. Like, yeah, exactly. Like in, in the 1940s Frankenstein, it’s like, oh, he’s like, he’s, he’s wearing rags, but

in this one it’s like the skater boy cut off his jeans. Exactly. A hundred percent. Uh, yeah. I don’t know. I just like stepping back. I feel like, I feel like this is like one that like a show that people would, would really love to see like people that like find painting difficult or boring. Like this is so them, like it’s so contemporary.

This one. I love this one. It’s like city skyline in the background, kind of at a, like a bit of a perspective angle. And then like in, in the front of the picture, it’s like some yellow bars and this big like spider’s web and this spider’s fucking munching on this little butterflies bum. Like the fucking butterfly is mortified and the spider looks determined and busy.

And then there’s these two rats at the bottom or mice, like looking out. I don’t know if they’re looking up at the spider or out of the city. I love it. Framed by these pink, pink curtains. Yeah. The pink curtains are great. Uh, unlike the baby, like this butterfly is like super stressed about being eaten. Like his arms are flailing. Yeah. His mouth is this like big, like figure eight, like kind of hole.

Yeah. He’s like not about this. Yeah, it’s true. And again, the spider has been done in this like really beautiful, simple, um, uh, like illustrative way. Yeah. It’s just like a series of kind of clouds. Yeah. Stitched together. Very clever. It’s like, it’s like they’re toys or they’re like stuffed or something.

It’s so fun. There’s like, there’s not like that much like difficult, slippery sub context with these. Maybe like, you know, like they’re not, they’re, they’re just really fun and really beautiful. Like that’s, that’s all, you know? Yeah. If you just like hang out in the room, there’s such a like pleasing, like, I don’t know. Yeah. This artist like has really nailed like a style.

Yeah. And it’s really like fun to be in this room with that stuff. Yeah. Totally. And it’s really, it’s so powerful, but then together it’s even, it’s so beautiful. Like these, these very contrasting colors, like the order that they’ve chosen to put them in. It’s really sick. This, yeah. I feel like this would make like a really like hot zine or something. Totally. Yeah. They’re kind of like, it’s, it’s true.

It’s got this like zine cartoon quality, but then they’re like, they’re in this, like what we could say is like a fine art gallery, you know, like nice, nice art gallery. For sure. Yeah. Yeah. Yeah. Yeah. Yeah. They’re just, they’re sort of dumb and like fun and like laughing. It’s like both things, you know, like these two fucking skeletons, like getting their

rocks off and then like sperms with the cheeky face, like, but in this big echoey room. Yeah. They definitely feel like you were saying that this real like internetty, like digital, like everything’s so flat. Like I was saying it would play really well and just like an article, just like show these like top to bottom in an article and you would like get a lot of, a lot of the stuff out

there. Totally. But there is like this fucking super clever, like, uh, I guess we’re in like a slightly different language than I think we’re normally in like a visual language, like paintings in the gallery. That’s so true. This is like a popier, flatter, uh, like one. Like one. And it’s really like, yeah, just these big, bold colors, like simple lines, patterns, perspective.

Yeah. But yeah, this is definitely like the funniest shit we’ve seen this year. For sure. Yeah. It’s all jokes. And it’s doing this like kind of, I think the whole show, this like sort of internet commentary where we weave in like sad things with humor. Like they’re always next to each other online. That’s exactly it.

When I was reading out the like little artists, like vibing out statement thing. It was exactly that. It was like, I recognize the beauty in everything, but also I want to die. Like, yeah, it was, it was so clever. And I think like for a certain period, like at least personally, there’s like a push back against that. Like there’s an irony there, right? It’s like, ha ha.

Everything’s dumb. Everything’s stupid. Like let’s fucking drink a bunch of beers about it and like throw up. Like, cause like everything’s meaningless or whatever. Um, but like what this is doing on top of that is it’s this really like accomplished style, like, you know, visually, like there’s all these, like all the stuff we’ve loved.

And I mean, it’s kind of goes without saying, but you know, this isn’t just presenting that this is like, that is, um, embedded, but it’s, you know, it’s able to say that and say a little bit more because, you know, it’s a fucking clearly the work of like an artist who has put in the work, like in developing this, this kind of style.

Yeah. So you kind of like earn that or you earn the ability to like make us feel something beyond just that. Yeah. Like the point isn’t enough. Like it’s an easy enough point to make, but you need to be really good at painting to make that, make it work. And then add this new thing. That’s kind of making us like, I’m just like feeling like it’s kind of beyond words.

Like, and that’s this extra snap that is in this room around us right now. For sure. Yeah, for sure. That’s art, baby. That’s art. All right. We’re going to the next bit. Yeah. What’s her name again? What’s that character’s name? Minnie Mouse. Minnie Mouse? But she’s a duck. Daisy. Daisy Duck? Daisy. Daisy Duck. Yeah. In this pose, she’s got a really coy, it wasn’t me, gesture. She’s like sexy AF. She’s wearing some tight jeans and blue little wedge heels.

True. She’s got an early 2000s, 90s New York look. Yeah. She’s poking out her butt and looking over her shoulder. It’s actually really cool with a figure on this little stage. It’s sort of got this theatrical thing, but she’s got a backdrop. And a lot of these works follow the same format. It’s like a portrait thing with something on this little stage out the front.

And then paintings and pictures behind it. I’m kind of flattening this out and seeing it all as paint. Yeah, sure. You’re seeing it all as a painting, including the wall behind it. And then if you look at the little details on Daisy’s jeans, you can read them as a brush stroke as well. For sure.

Let’s talk about this one. This one’s got an urn or a jug and then this beautiful, fluffy, zesty tennis ball. That makes Aiden go… I love the tennis ball. Yeah, me too. These two objects together are just having so much fun with each other. We’re fucking stoked about these two.

And then in the background, the most formal background sort of canvas or whatever you would call it so far that we’ve seen. Bear in mind, we’re just fucking walking around wherever our eye is led. We don’t really do an order ever, really. But yeah, this one I think is maybe my favorite of this room.

It’s just… It’s so… I don’t know what it is. It’s just… It so is. It’s so itself. Exactly. This is a real sort of simple and strong gesture from the artist and I love it. So I’ve just looked over my shoulder, said bye to the artist or the gallery manager or whoever that was. And I’m looking at the works that have sold in this one.

And in the first room, it was all of them. And in this one, it’s just one so far. And these ones are playing out a bit more like… They’re a little bit… They’re more difficult on first glance. And I’d say this room is… We’re doing kind of the air quotes work that we normally have to do. We walked up to the first one and we were a bit stuck.

And then we kind of zoomed in a little closer and it kind of… I don’t know if it revealed itself or we revealed ourselves or we got more comfortable with it. Sure. Whereas if you think about those last works and how poppy they were, they were already in our everyday language. Our everyday visual language. So true. You just walked up to it and snack.

So true. We were there already. Yeah. And so this definitely feels like… You were kind of saying this is more difficult. It’s a different world. But I feel like we’re already kind of… A couple minutes later, you’re sort of back to the point we were with those other works. Even though this is less colorful and more difficult. It only takes a few minutes to ease yourself in.

And now you’re fucking seeing the tennis ball. I can fucking hear this tennis ball right now. Yeah, exactly. That’s the relationship that I’m talking about. Just the physical destinies of these two objects. Like this guy wants to get smacked around and bounce and I lost it now that Doug’s got it. And then the urn, Doug, is like stately and you keep it on the mantelpiece.

Don’t touch it. No, no, no. It’s not for wine. It’s just for decoration. A hundred percent. It’s such a clever… It illuminates so much more about each object other than just holding it. If you just hold it in your hand, you don’t really get this kind of explicit saying about their partner. Like, about the partner of each object. I don’t know if we’ve made it clear or not, but every painting, the background is bent into this L shape.

And it’s functioning as a mantle. Imagine you’re looking at a painting, but then at the bottom of every painting, there’s a mantelpiece. Yeah, we’ve got an illustrative photo of that. Yeah, we’ve got a few objects on the mantelpiece. And those kind of worlds of objects, they’re like…

You’ve been talking about this idea of the destiny of things. And I really love that, this idea of tracing an object from the factory and where this tennis ball could have ended up. And it ended up here. I love that idea. And you can put all your own personal relationships into that.

But for me, the painting is such a fine object. The painting in this gallery in Chippendale, this serious, cool gallery. And the mantelpiece is the homely kind of like… Fuck it, I’ll just chuck it on the mantelpiece. I’ve got little knick-knacks. We both love a knick-knack. Yeah, sure. But also, traditionally, that’s where your mom puts the nice photo of you.

Sometimes, yeah. Yeah, yeah, true. Or maybe especially her mom. That’s where your mom’s portrait goes. That’s true. The family pictures. That’s your grandma’s house. Of course. I mean, yeah. That’s where that is. The mantelpiece has many modes as well. Yeah. So these two are kind of speaking to each other, right? Yeah. So what do you see?

Now that I’ve seen this third or fourth work here, I’ve spotted now a kind of through line. One of the background, like one of the main sort of painted pictures, this beautiful, another like jug or urn. Sort of a continuation of that practice that she started with the naked body over there.

And the like cute glow in the dark. I think those are lamps. I think that’s like a little lamp that you can buy. Yeah, those are like super famous, right? It’s like a retro dog lamp. Yeah, totally. And yeah, now I recognize the kind of like this sort of painting practice that the artist is developing like through, you know, this kind of fun like background thing. So like to describe it more wholly, like we’ve got now on the mantelpiece, we’ve got a little glass dolphin, you know, and some little blue pedestal thingy.

And then that inset of the little urn or jug and then more geometric shapes. It looks like like a maths textbook from the 80s. And then that same like really wonderful, like very rich patina. That will probably be the hardest thing to convey either over the mic or on the camera because it’s one of those things you just got to go and see.

I’m afraid like it’s got a million different angles and you can get real close to it here. And like, cool, this is like a little rock now, like a little piece of, I actually happen to know that this is quartz. I was going to say quartz. I feel like you should have let me have that. Damn. I’m the one that never knows. No, I want quartz. I’ll give you the next fact. Okay, this is a piece of?

This is actually quartz, Matt. Nice. Wow, how did you know that? That’s amazing. I think quartz is the only rock I know. Ah, Doug, you’ve probably got a couple other in you, in your noggin. Pebbles. Sandstone. That’s what we’re really pushing the limits of my material knowledge. Okay, this one’s hard to talk about, but this is just like another rendition.

And like, now that we have a way in, like, I find it, it’s very pleasing. Like, yeah, this is like a swatch. It’s like, you know, these forms, like, it’s cool. It’s like this, all these like 10 paintings or whatever are this like, you know, we’re hanging out with the artist exploring these forms and exploring these ideas. And this one is just like another iteration.

But yeah, like, now that we’re kind of in this world, it’s very pleasing. And yeah, it’s true. I kind of like, I’ve really settled into this and I want to keep hanging out in here. Like, so yeah, I think like our experience of this, which I hope we like got over the mic, like over the mic was like coming from that really fun puppy internet silly world into something that felt like a more, not somber, but a more like stayed world.

Yeah. But I can see why they put that one at the front. Yeah, exactly. That’s the one that like needs to be like seen from the window. Yeah, totally. But it’s like, I don’t think I could have actually done another like a really fun puppy one after that. Like, I think this, this is like, for me, it was more fun than if it was just another room of that guy’s paintings.

I agree completely. Yeah. It’s, I mean, it’s a curation thing, right? And it’s nice. It’s like, put the, put the fucking banger up front and then put the ones you have to work for. Like, if you want to come back around for a second go. Exactly. And like, we definitely had more to say and I think more to feel about this second room. Yeah, that’s true. That’s actually very true because like we, we came in and I was like, no, it’s got me boring.

But like, that was my like kid, child reflex, like kicking in. And then like, when we like walked up to each one, one after another and like got involved with it, it actually ended up being like, there was a bit more of like a resonance there. Like. Exactly. Yeah. Yeah. Yeah. Like, yeah. I don’t know. There’s a really cool like sense of history in these images.

Like we’re playing with history and like the history of painting, the history of object making, like maybe even those boxes. Maybe I’m just putting it on because like the only reference that I have for like a painted box, but it’s like the AI recognition box. It’s like what goes inside the box. But like, I mean, this one here with the tennis ball and the jug, like, I don’t know.

It’s kind of for me, like it’s so classic, like without the tennis ball and the jug, but like it just explodes it into like this, like another universe. Like you do, it is like a function of like close looking. Yeah. Cause like, you know, from a certain view, it’s just a fucking weird piece of art, but from like a certain lens, like, you know, it is quite revolutionary to like, you know, explode a painting out into like three dimensions.

Absolutely. Yeah. Yeah, absolutely. And to, and to call, um, what would we say? Like found object stuff, painting as well. It’s kind of, it’s also got that like exciting, like, um, breaking the rules vibe. Like, you know, the, the, um, the, the actual physical object has never been the domain of painters.

So like we’re saying like, this is, this is really breaking some rules. It’s kind of rock and roll in that sense. Like it’s, you know, it’s, it’s breaking some rules and it’s like not, it’s doing what it was not allowed to do, you know? Yeah. A hundred percent. And it’s like, when you, you talk to me about music sometime and you’re like this time signature, but to me it just sounds like music or like slightly weird music, but you’re like, ah, like this is, this is crazy.

Yeah. And like, that is just a bit of like a pro thing, but like, we all have it, right? Like we all have our like specialties, specialties that we’re like attuned to, whether it’s like cooking something and, you know, someone thinks it’s weird, but like, you’re like, holy shit, they put that spice in there. It’s like a little hint of mint. Yeah. Like, are you fucking joking me?

Like, it’s beautiful. Yeah, in the ice cream? No, no. In the fucking, like, ooh, yeah. On the fish fingers? Sometimes.

Like the fucking, I still really want to try this.

True. Cool. Should we, uh, should we say goodbye? Yeah, let’s say goodbye. Okay.

Wow. Two butt prints. Cool. Yeah, really fun. Thanks. Yeah. Was, who was, was that the artist that we saw? Okay. Okay. Okay, cool. Yeah. Yeah.

We would like to acknowledge the traditional custodians of the land on which this episode was recorded, and pay our respects to their elders past and present. We extend that respect to Aboriginal and Torres Strait Islander peoples listening today. Next week, we’re seeing Brendan van Heck at Sarah Cartier Gallery in Paddington. You can find us on Instagram at hungup.au.

Thanks. Bye.

Show notes

EPISODE 6 💀 🕷🎾 This week we visit Galerie Pompom in Chippendale to talk about art by Matthew Harris and Genevieve Felix Reynolds . Included themes: gay skeletons 💀💀, galleries are boring/fun 😩, internet aesthétics 💿, and where things come from 🕵️ The show runs until 18th April follow us on IG at hungup.au to see the pictures from this show ;)