Matthew Brannon抯 Switching Positions is executed as a wall mural

Matthew Brannon抯 Switching Positions is executed as a wall mural. Showing an entanglement of knives, Brannon conceives not a logo of violence, but apathy. Rendered in black and dripping 慴lood? Brannon抯 blades are diminished to the international language of pictograph signposting, exuding an outline of 慽dea?rather than a portent of immediate threat. Through this reduction, Brannon presents content as void: his weapons are represented by a blank vacancy, precariously balanced in harmonious composition. Emblazoned in grand scale, Switching Positions presents an unnerving propaganda of disconsolation and hopelessness.

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In People Who Divide People, Matthew Brannon adapts his eel motif as a logo of power and class divide. The image itself contains multiple symbolism: as loathsome viper, lowly animal, and revolutionary icon of early America. Rendered in black and white, the delicate pattern is reminiscent of both lace and tire tracks. Humorously recalling the colonial motto 揇on抰 Tread On Me? Brannon抯 snake supplants ideas of freedom liberation as an elitist decal of 慻ood taste?

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BIOGRAPHY 1971 Born in St. Maries, Idaho Lives and works in New York Taking emotional vulnerability and solecism as a starting point for investigation, Matthew Brannon often situates his work around themes of self-destructive behaviours that outwardly reflect inner dysfunction, what he describes as 損ersonal pathologies? Other People抯 Money extols the complications of careerism; the image of a limpid dripping/bleeding eel is both trophy and pitiful personification. Brannon describes the grey area of morality in the stark contrast of black and white, cut through by a tread patterned diagonal stripe suggesting a 慼it and run?hierarchy of ethics.Matthew Brannon抯 HYENA is presented as a vinyl LP atop a plinth. Illustrating the effectiveness of packaging over content, the object exudes a precious quality as product and collectable. The recording itself, however is much more sinister. Featuring a caged hyena at a Berlin zoo, the soundtrack captures a disturbing symphony of clattering metal, audience rumblings, and breaking bones, beneath an aria of the animal抯 frantic bark-laughter. In this discrepancy between outward appearance and contained turmoil, Brannon creates a haunting analogy for tenuity of human experience. Matthew Brannon抯 prints convey a poetic distillation. Conjuring a complete image from the most meagre information, the 憁essaging?of Brannon抯 images is transferred through their subtlety of form. Situated between luxurious refinement and divested replication, Brannon adopts the associations of design to comment on psychology as by-product of consumer environment. In Sick Whore, Brannon underscores a spindly plant with an abject description or insult. Embossed with the finality of an epitaph, Brannon sums up a totality of a frail, abused, and embarrassing existence.