Matthew Wong
This painting Icebergs is a stunning monochromatic landscape depicting a body of water with four icebergs. Wong's use of color was closely tied to the emotional content of his paintings. He could convey a range of feelings through his color choices, from tranquility and nostalgia to melancholy and introspection. This emotional resonance was a hallmark of his art. In this particular painitng the feelings of isolation and lonliness, not only through Wong's use of colour are these feelings evoked among the viewer but also through the landscape and content of the work itself. The landscape appears desolate and sparse, further emphasising this feeling and atomsophere of isolation.
Published by the Art Gallery of Ontario in association with the Matthew Wong Foundation. Blue View was Wong’s first museum exhibition, and these prints were authorised by the Matthew Wong Foundation.
Produced in connection with the landmark 2021 exhibition, this is an authorised Matthew Wong publication with direct provenance to the Art Gallery of Ontario.
There is something particularly appropriate about the way these prints came into the world.
Matthew Wong was a largely self taught artist whose career developed outside many of the traditional routes into the art world. He shared his work online, formed relationships with other artists through social media and developed his practice through looking, learning and an intuitive process of discovery.
The prints published in association with Blue View were not presented as conventional numbered fine art editions. No edition number was printed on the works and no total production quantity was published.
We cannot know whether Wong himself would have chosen to produce them in this way. Yet there is an interesting continuity between an artist whose work first travelled so freely through images and conversations, and these authorised museum publications, which allowed his extraordinary images to travel beyond the walls of his first museum exhibition.
Today that accessibility has acquired an unexpected consequence. The prints are no longer readily available from their original institutional source and examples appear very infrequently on the secondary market. What began as an accessible way of encountering Wong’s work has itself become scarce.
Provenance:
Art Gallery of Ontario
MODO, Cambridge
Provenance
The Ontario Art Museum
