Animated Wonderworlds Catalogue from Museum für Gastaltung Zürich

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 :)

CTG's Sherwood Award


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 nice write-up on the Flynn Center Blog

Here is a nice review on the Flynn Center Blog for the show I did there in Burlington, Vermont, as part of my New England tour

When I left the Flynn after attending Miwa Matreyek’s recent performance of her latest solo work, This World Made Itself, I was feeling pretty blown away. I was expecting a show unlike anything that I had ever seen before, and Miwa delivered the most vibrant and stunning series of visualizations I’ve maybe ever seen. Miwa Matreyek’s mind would be a delightful and fantastical place to visit. Watching her made me feel as if she gave the audience a glimpse into her psyche and how it works. This unique showcase is one that I would urge anyone to attend if they have the chance.

a nice review of Half Life on Stage Raw

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)

Year in review: Flick Picks’ top 14 cinema moments of 2014

11. How Miwa Matreyek melded animation and performance art: A Los Angeles-based multimedia artist, Miwa Matreyek integrates her body and two projectors to create a silhouette that moves not only in front of but among the animated images on the screen. In the performance I saw at REDCAT back in Feburary, her latest piece “This World Made Itself” was paired with “Myth and Infrastructure” from 2010, and the double feature demonstrated her evolution in this very specific form. In the earlier work, her hands interact with animated objects — lighting candles on a birthday cake, slicing open a lemon. In the later one, her hands burst through the screen so that her shadow is operating animated hands held out to the audience. It’s a performance that requires incredible levels of precision and control, and by the time she took her bow, she was glistening from the exertion of the past hour. Meanwhile, Matreyek’s work is non-narrative and surreal, but “This World” conveys a clear message about the creation, evolution and destruction of Mother Earth with a strong feminine voice. The result is mesmerizing — an incredible technological, artistic and philosophical achievement.
— Annlee Ellingson Staff Writer- L.A. Biz

review of UK premiere in Birmingham for Flatpack Film Festival


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.

Senses of Cinema - a nice write up about my work in an article about Sundance 2014

"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."

TED blog feature