Last September, I performed in Zurich for the "Animated Wonder Worlds" exhibit curated by Suzanne Buchan at the Museum für Gastaltung. It was a great show, featuring video, interactive installation, games, and VR experiences that explores the boundaries of animation, the new forms it's taken, and the new ways that we experience it. Suzanne was kind enough to give me a copy of the beautiful catalogue, and I was just looking at it again for reference. Thought I'd note it here in the press section :)
Miwa Matreyek was selected as the 2016 Sherwood Award recipient from a competitive group of applicants in recognition of her exceptional contributions to the Los Angeles theatre landscape.
The award was presented at the LA STAGE Alliance Ovation Awards ceremony on November 9, 2015.
a great review of Half Life here on Stage Raw
"Cloud Eye Control traffics extensively in both global and internal anxieties, yet its transcendent beauties provided for this viewer an antidote to the ineluctable angst. It’s less a call to arms or commitment to change than an aesthetic alternative to despair, and though it’s only January, I doubt there will be a theatrical mise-en-scene to rival its supple tapestry of stimuli for a while to come." - Myron Meisel, Stage Raw
(many of the photos courtesy of Steve Gunther/Calarts)
The Flatpack Film Festival continues to redefine and expand the definition of film, treating audiences to a performance like no other by Los Angeles-based artist Miwa Matreyek.
Performer and digital artist Matreyek combines stunning animation with the art of movement, cleverly using a projection of her silhouette to interact with her creations through a series of interactive manoeuvres. After performing her solo-silhouette show at the prestigious Sundance Festival earlier this year, it appears Matreyek seemingly astounded audiences and critics alike with this masterful production.
‘The World Made Itself’ is a compelling piece, highlighting the serenity and the wonder of Planet Earth in all its splendorous dynamism. In its UK premier, Matreyek’s imaginative offering also features an excerpt from her 2010 project Myth and Infrastructure, a beautifully scenic tale about the cycles of existence and regeneration at the very root of nature and society.
Transiency of time is extremely prevalent within this quirky piece, whilst the emblematic contrast of light and darkness building tension at the peak of the action and serenity in still places.
Matreyek brings her animations to life with charging vivacity with the use of emotive music from distinctive artists including Anna Oxygen, Flying Lotus and some of her own compositions.
The artist’s movements are fairly simple (with no semblance to Cirque de Soleil performances) yet effective. Her graceful movement in the shadows enhance her graphic artistry, both intricate and astounding - a superior model to something that one might attempt at science museum. We are drawn in by the prospect of authority and power to create something distinct and personal. Matreyek ceases her opportunity, using her art as a platform to express her philosophies of humanity, arguably posing as Mother Nature.
With very few artistic pieces to compare with, ‘The World Made Itself’ epitomises modern art. The surreal, sixty-minute montage is free from explanation or any form of legitimacy. The story swings loosely on a short string of trippy and somewhat enigmatic skits. Often, the success of art is measured by the ability to move an audience than their ability to make them understand. On this basis, Matreyek deserves to be celebrated.
"This is, perhaps, Matreyek’s greatest gift. While the synchronisation of her performances is obviously worked to the second, she wilfully unsettles our desire for fixed meanings. The relationship between the different layers and the different portions of the spectacle, its “compositing” in time and space, is constantly shifting, gone with the flow of time, tirelessly morphed and reconfigured into the magical kingdom whose key she detains."