Matthew Cornell, American Art Collector magazine, March 2012
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Transcript of Matthew Cornell, American Art Collector magazine, March 2012
UPCOMING SHOWUp to 20 worhs
March l-30,2012Arcadia Gallery5l Greene StreetNewYork, NY 10013(212) 965-1387
l'
MarrHEW ConxELL
Mysteriesof twilight
atthew Cornell's painttng, The
Road, exemplifies everything he is
trying to accomplish in his latest
series of paintings. The painting depicts a
junction on a small country road at twilight.The two-lane paved road turns off into a
bumbling dirt road enveloped in darkness.
Ar-r unmarked street sign frames the scene on
the left while an overgrown cropping of weeds
Iills in the other side of the painting. The
overall leeling of thc randorn night scene is
one of mystery and familiarity, comfort and,
possibly, concern.
"You see the main road in the loreground
and then the turn off ends in complete
darkness," says Cornell. "You see the street, the
dirt road, and the unmarked strcct sign and you
start to get the idea of the unknown-so many
things happen ir.r our lives that you never know
how they will turn our. You rnake a decision,
then turn olf into the unknown."
Cornell loves painting at twilight because
of the transitory nature of this time of day. Thelow light of twilight, the time berween day and
nighr. i' when "rhe rright creaturet are \rauingto stir ar-rd hum," when the fbeling of the
unknown starts creeping into ordinary dailyscenes and mystery soon envelopes a scene.
"It intrigues me, the mystery of the
twilight," remarks Cornell. "You begin tonotice things and things look different. Have
you ever noticed how dillerent your own home
looks at night rather than day? Things appear,
disappear, and the light just gives it that
mysterious and strange quality."This series also is inspired by Cornell's
lovc of discovcry. Driving through small
towns across the country on his many travels
or just finding spots around his home in(lrlando, Florida, Con-rell always lir-rds himself
wondering about thc lives of the peoplc hc
comcs across in thc:c sccncs.
102
Tsp Roao, orl ox leNu-, 9 x 16"
Nrcnr'W-rrcn,OIL ON PANEL,
8/z x rr/2"
LroNs rN WiNrrn,oIL ON PANEL, ZOXZO"
104
"You pass by a house and think 'lVho lives
there?' '\7hat is their story?' "What is goingon inside that home?,"' explains Cornell."I often think about the lives people lead,
even if I ve never known them. \What got them
to where they are now? How they moved inthat direction."
Another painting in this series is titled
Crossroads.\X4t11e the scene at first glance appears
to be a common railroad crossing in Anytown,
USA, Cornell finds much more here.
"So, I wanted to paint the place where
Robert Johnson sold his soul to the devil inexchange for guitar genius," says Cornell."I figured if this legend were really true, itwould have to be a relatively benign place. Itseems like it would be a simple place and notone ofgrandiosity. In the story, it was, indeed,
near railroad rracks. In rhis painting we are
Robert Johnson, on the railroad tracks oflifel\fle are coming to a crossing. tVe are given a
choice. On the right, which is impossible tosee here, is a children school crossing sign.
This is meant to represent innocence. On the
left is a business, which could be a bar, a juke
joint, or whatever. It is occupied and open
24 hours, because the devil is always open
for business. Life is about choices. Robert
Johnson made his. tVhat is mine?"
Another important aspect of the paintings
in this series is the size. The largest is 20 by
20 inches while the smallest is roughly B by
8 inches.
"One of the effects of the smaller pieces
is that they are not necessarily closed," says
Cornell. "lVhen you look at one, you see far offinto the distance of the paintings. I've always
Iiked rhar. I Feel ir is an intimare experience
when you stare into the painting and can see
so far." o
For a direct linb to the
D.lwN, or oN PANEL, l3/s x8Va"
direct linb to theexhibiting gallery go
Cnossto.los, oIL oN PANEL, t1 x t5Vz"