gizmodo.com — Remember the name Matthew Stromberg, because this professor from the Savannah College of Art and Design could be the Michelangelo of munitions. Instead of traditional mediums, Stromberg prefers explosive materials to create his artwork.
Jun 26, 2008 View in Crawl 4
sgunJun 27, 2008
A redneck renaissance man.
Closed AccountJun 27, 2008
The bullet swiss chees metal was cool, but the blown up particle board was stupid.
thescimitarJun 27, 2008
I'm not sure I comprehend the latter two projects, but the first (bullet holes/impressions through coated metals) does have a certain ring of context to it. Anyone who has grown up or lives in a rural area is well familiar with bullet holes in road signs, even to the point where they are no longer signs. Viewed from a temporal standpoint, Stromberg may be making an analogy here.It's interesting to think about the result of two processes, pulled out of time, and combined in their pure states: pristine, finished metal materials, and un-oxidized damage to those materials through a "typical" human process.
pchad2002Jun 28, 2008
Isn't this just a rip-off of Cai Guo-Qiang, who recent had an exhibit at the Guggenheim?
nc60659Jun 29, 2008
Everything's art! Look at me fingerpaint with feces, starve a dog, kill a man, kill a woman, kill a man and a woman, kill a man and a woman with a frozen mass of feces shaped like that dog that I starved, ugh, wait, I mean like that other piece of art... That I art'd.
prekrimeJun 30, 2008
I dig it. It is definitely a process piece. It reminds me of a continuation of some of the Futurist works. A medium that combines random output created by combining combustible mediums and mailable substrates. The successful piece might take quite some time to produce based on the unpredictability of the materials. I find that some of the "enzo-esque" qualities of the gunpowder and paper pieces are quite beautiful; the subtleties of contrast between the darker burn marks in contrast to some of the subtler smoke markings reminds me of Asian watercolors. I think to truly appreciate this work you have to get past the violence of it's creation and focus more on the chance aesthetics produced by the process and that philosophically adds to the beauty of the work.