A piece of music to feed the soul – Music&Vision selected by Nastymisty + øTheP
Matthew Stone – Bodylanguage
RóISíN Murphy AN IRISH ROVER
I’ve moved around a bit since I was a kid. When I was twelve, my family moved to Manchester from Arklow, a small town in southern Ireland. My family drifted back to Ireland when I was 15; I stayed in Manchester.
I moved to Sheffield at the age of seventeen thinking I would go to Art College. Then I met Mark Brydon and we did some tracks with me kind of ‘chatting’ lines on them like “Do You Like My Tight Sweater?”, “See How It Fits My Body”. Moloko was born. It freaked me out when we were asked to sign a six album deal but Mark being ever the pragmatist pointed out that, in the extremely unlikely event that we actually did get to make six albums, something would have had to go very right.
I have lived in London for a few years now. Of course I toured all six albums, mostly around Europe, though occasionally in further flung places like Australia, the US, much of eastern Europe and Russia. I’ve been around a bit. I can’t imagine making a record and not being totally consumed by the process, even though that might be nice. I don’t expect I’ll ever be completely satisfied. On this record the tracks certainly went from pillar to post, I worked along side some really great people and lots of them. I was always there, writing in Miami, London or Barcelona, additional production in Sheffield, strings in Philadelphia, mixes in New York, Jersey, Miami, Las Vegas and every studio in London with a Neve mixing desk, then back to Sterling in NYC for mastering.
Matthew Stone’s (b. 1982) human landscapes are monumental and simple, strong and fragile. His mounds of naked bodies are presented as multidimensional beings full of life.
The pivotal questions are of separation and return, of challenges to perceptions of individuality. Separated bodies physically return; placed together to undergo a romantic mutation that enables a metaphysical reconnection. Stone uses the interplay of light and darkness to follow sculptural curves and surfaces, awakening the imagination’s desire to delve into the (c)overt.
It is this polarisation that creates the fields of tension in all of Stone’s works. Our surroundings and ourselves often seem divided into irreconcilable binaries: right/wrong, light/dark, good/evil, I/other. Rather than rejecting these overly simplistic, seeming contradictions, Stone proposes new contexts for their powerful co-existence.
In his performative rituals and collectively-minded shoots the camera becomes a shamanic tool used to invoke and create history, rather than to document it. With art as his weapon of choice Matthew challenges fear and denudes a newly defined optimism that not only sheds light on (wo)man, but also on the endless possibilities we are all composed of.
Matthew Stone was recently named the most influential living British artist under 30 by The Sunday Times and Norman Rosenthal, curator and critic, has drawn comparison to the energy of a young Hirst.