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MATILDA LITTLE

b.1995

2018: Graduated from Central Saint Martins

 

Matilda Little’s work directs attention to the idea of the ‘object’. Questioning the object’s status, and in turn our hierarchy of values. Objects often go through layers of tampering and distortion and act more like re-appearing characters in a non-sense theatre production of moving props. Using paint in a drawing-like style the likeness from figure to object is constantly in flux.

Matilda is currently living and working in London.

Maddie Rose Hills: You express yourself artistically in many ways and looking at your website you have lots of creative avenues in which your ideas manifest themselves. Do you have a process that you enjoy the most or do you like to move between mediums?

Matilda Little: I find the narrative in my work actually comes into being by flipping between different mediums. I will often recreate the same ‘characters’ or objects over and over again in different mediums, the form and context of the subject morphing throughout the process. This process for me mirrors the effect you find in really old antiquated objects, who's form is slightly off as a result from being used and passed on. 

MRH: What ideas are you exploring in your work at the moment? 

ML: At the moment my work is playing around a lot with hints of classical figures found in stone; statues or figurines, then remoulding them, reanimating them. I’m also finding new space for them, elevating their status, imagining character and narrative. A portrait of a forgotten object. 
 

MRH: I remember a conversation with you a couple of years ago about your sparse application of paint. Is this still important in your paintings? 

ML: In a way I think the sparseness will always be there in painting for me, as it’s in the way I approach the canvas that is quite mindful. I really respect a blank canvas as an object in itself. And with my process moving from paper to canvas, there is always a jump in the immediacy of the materials. I don't like to correct or redo, ideally the mistakes I make become part of the character of the work, this maybe comes from having a very ‘drawingly' style of painting, 

 

MRH: How long has blue been a prominent part of your art and can you tell us a bit about your journey with the colour. 

ML: It is quite recently that I have been going through a blue phase. And I think it may come hand in hand with really thinking about form. A couple of years ago my work was mostly pushed along by narrative words, and non-sense stories. But now the work moves through form and likeness to form. The balance of likeness and otherness that I’m searching for with bodies and objects for me make sense to be based in blue. The kind of blue that you find under all the tones of your skin, that makes up shadows and highlights of your human form.