The artistic path of painter Mathew Cerletty sure is a curious one. In the early 2000s he quickly became one of the brightest stars on New York’s art scene, blowing critics and curators away with his hyper-realistic paintings. Using friends and family as models he created poignant portraits in bold, vibrant colours whose out and out weirdness could keep even the pickiest spectator lingering. But, instead of settling for the position as one of his generation’s most talented portrait painters, this artistic joker chose to take a completely different direction. From traditional figurative works he started to paint minimalistic signs and random catchphrases like “I Love Exercise”, “The Economist” and “Diet Coke”.
Maybe it is his ability to surprise that has made him such a favourite and a frequent exhibitor at Rivington Arms, Gavin Brown’s Enterprise and Matthew Marks Gallery among others. Or, maybe it is just the fact that whatever he chooses to paint, it always turns out fresh and precise with an incomparable slick up to date-feel to it.
Could you sketch in your background for me, where you grew up and how you came to be a painter?
Milwaukee, WI. It’s a very wholesome place to grow up, but not a lot going on culturally. I lucked out by having parents that thought being an artist was a legitimate career choice.
So, do any of you have formal training in art?
I had traditional academic training at Boston University. Value renderings of plaster casts and reflective objects, painting the model, technical stuff, but not much on the conceptual side.
How come you have chosen to explore such different approaches to painting?
I just want it to work; I want to make pictures that maintain my interest. As I became familiar with different types of painting, I expanded my repertoire. For example, I always enjoyed titling my early figurative paintings and after seeing paintings of just words I realized I could just paint the titles.
How do you typically start a new project?
I don’t have a strict method; I can’t really get motivated if I’m not surprised so I have to be ready to find ideas in unexpected locations. But usually I have an image or a phrase or some notion that I believe has potential. I kick it around for a while, play around on Photoshop, try to imagine it as an object and apply to pressure to that object. I try to let the idea determine the best possible delivery, in terms of scale, material, etc. and eventually it becomes clear if it will work.
Do you think viewers understand the intent of your work?
My intent is for people to look at a painting and not get tired of looking at it. As far as what thoughts they should have while looking, I have preferences, but it’s really up to them.
Apart from sheer hard work, what would you say has been the main key to the success of your career as a painter?
Rich gay guys.
Haha! Speaking about rich gay guys, how is the art scene in New York right now?
The same! There are tons of people that care about art here and most of them are annoying. I’m glad that there’s such a glut though, it allows you to refine your taste and it’s great to be in an environment where people are engaged and trying a million things.
What is your favourite gallery in the city?
Algus Greenspon in NYC is my baby. It’s founded by my ex-girlfriend, Amy Greenspon, and wayward genius Mitchell Algus. I helped design the space, install the first few shows and continue to have a creative voice on visual aspects of the gallery. I’m having a show there in September and couldn’t be more excited.
What is your philosophy on originality?
I’m not sure if originality is still an issue.
Is there something that you consider a turning point of your life?
My Yorkshire terrier Zuzu was hit by a car when I was rollerblading in 6th grade. Blood everywhere. I went over to her, took off my helmet and pads, and started rubbing my hands in her blood, pressing it into the pavement. That’s when I knew I was an artist.
What’s up with you and Diet Coke?
We have a delicious relationship.
Mathew, it has been a pleasure!
