The L.A. Louver gallery of Venice, California hosted the a solo exhibition of new work by Matt Wedel. The exhibition, Sheep’s Head, (April 11— May 11, 2013) featured more than 20 ceramic sculptures, many of them drawing on a spectacle of scale.
In his writeup for the LA Times, David Pagel relates walking into a gallery and seeing a 10-foot-tall lamb with a human head which is too big for its body:
Made of gorgeously glazed ceramic, the massive icon stares off in three-quarter profile, dwarfing visitors while reminding us what life looked like when we were 3-feet tall: bigger and better than it does now, our experiences of its highs and lows filled with more innocent intensity than we can remember, much less recapture.
Four monumentally-scaled figurative works formed the heart of the exhibition. Inspired by the hand-painted design of a 16th century Italian bowl by Giorgio Andreoli, Wedel animates a larger-than-life figure, poised in mid-air as if rising up (or perhaps about to sit) on a stool below. A second figure, with a bulbous midriff and plump thighs, kneels on the gallery floor. And a female head that measures over 6-feet tall by 6-feet wide, its surface coated in pewter-colored luster, also rests directly on the ground, its form conjuring an Olmec sculpture. Nearby, atop a bed of succulent flowers, an animal body morphs into a human head: a towering contemporary Centaur barely contained by the almost 14-foot gallery ceiling.
Two related forms complement the large-scale figures: plants and rocks. The former, which Wedel calls “flower trees,” are of varying palette and scale, from tabletop size to more than 6-feet tall. The flower tree is a recurring subject for Wedel, who is constantly developing its form, while stretching the limits of the clay’s materiality. In this exhibition, a large faceted rock that is more than 5-feet tall and covered in a rich brown luster, takes center stage. Wedel also frequently integrates the rock form, colored with painterly splashes, into his plant sculptures. Like an eccentric botanist who experiments with hybrids in a hot house, Wedel imposes his will on his subjects, to defy the qualities of the clay.
Ambiguity is felt throughout the exhibition: while Wedel focuses on the female form, other figures appear androgynous, and the flower trees seem to be a strange cross between real succulents and science-fiction growths. Alluding to classical motifs, the sculptures are also entirely contemporary. Color is used lavishly: bright yellows, reds, greens and blues abound, and elegant browns and greys gleam with subtle complexity. Working quickly – he states “clay abolishes the time lag between the idea and the object” – Wedel’s prolific output expresses his vivid imagination and formal inventiveness.
Wedel was born and raised in Colorado, but works at his studio in Athens, Ohio, where he mans a massive kiln alone. The work exhibited in Sheep’s Head was done by Wedel over a one-year period.
Image Above: Installation view of Matt Wedel’s Sheep’s Head at L.A. Louver, Venice, California in 2013. Courtesy of the artist and L.A. Louver.

Installation view of Matt Wedel’s Sheep’s Head at L.A. Louver in 2013.

Matt Wedel, Sheep With Flowers, 2013

Matt Wedel, Flower Tree, 2013

Matt Wedel, Flower Tree, 2013

Matt Wedel, Seated Figure, 2013

Matt Wedel, Flower Tree, 2013. All images courtesy of the artist and L.A. Louver.
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