Q&A with Mathias Kiss
What is it about the sky that so inspires you?
The abstraction of it - the escapism and the endless creative possibilities it represents.
How do the objects you place in front of your work inform them? Do your paintings become installations with the addition of the objects or are they still paintings?
The objects I place next to my works are there to tell a story – I put them there to create a dialogue between the painting, the object and the viewer. To me, they’re installations - I can’t help but feel that one-dimensional images lack depth, and by adding these objects I bring perspective to my work.
Where did you find inspiration for your work with Wallpaper*?
My work for Wallpaper was about a deconstructed universe. I stepped away from my usual, decorative process - I based my ideas on classical references, whilst constantly looking towards the future. I wanted to create a fantastical universe constructed from functionless shapes, colors and materials.
Who are your key artistic influences?
Primarily French Classicism - an influence I translate into my work by picking obvious references and transforming them into sculptures, projections or installations.
Tell us about your studio? What sort of space do you work in?
My favorite workplace is on-site, wherever that happens to be. Most of my work consists of freehanded projects, and I use my clients’ wishes as a platform from which to explore unexpected proposals.
How does the notion of space relate to your work?
The notion of space is fundamental to what I do. Performing in a large virgin space gives me a feeling of spontaneity and chance.
Would you call your paintings 'art' or 'decoration'?
I am more willing to define my work as art or painting, since ‘decoration’ refers to what I see as a narrower practice. What I’m constantly trying to do is to convey emotion through my installations – and that is not decoration.
There is something vaguely menacing about your work. Is that intentional?
The idea that my work is ‘menacing’ has actually arisen quite often. I have a very instinctive way of doing things - as an artist, I feel the most through the pain experienced when working as opposed to the positives.