“Drive” by Mark Dwinell
Official Music Video
From Mark Dwinell “Golden Ratio” LP (Amish Records, 2015)
I made this music video for “Drive” by Mark Dwinell of Forma using hundreds of photographs taken around Woodstock NY and Portland OR in autumn of 2014.
“Song To The Siren” by Excepter
Official Music Video
From Excepter “Familiar” LP/CD (Blast First Petite 2014)
Directed and Edited by Matthew Caron, Photographed by Joshua Zucker-Pluda and Matthew Caron, Max Visual Effects by Matt Romein
Watch “Song To The Siren” and read an interview with Excepter at The Fader
“Tiger Tank” by Speedy Ortiz
2013 Carpark Records
Directed by Matthew Caron, shot by Destiny Mata and Matthew Caron, edited by D.V. Caputo
Judging from their debut album, Major Arcana, Massachusetts indie rockers Speedy Ortiz have their blend of ’90s-inspired alt-rock down pat. But as they prove with the video for lead single “Tiger Tank”, the foursome also have a keen grasp on their beloved era’s aesthetic/visual sensibilities. While they jam out in a grimy basement filled with shredded paper, complete with fish-eye lens and prerequisite effects, a couple of girls in lucha masks throw down for some good, not-so-clean amateur wrestling fun. In ’90s terms, this party is so kickin’, it makes House Party look like House Party 2. Grab a drink and join the festivities below. – Chris Coplan, Consequence Of Sound
Long Distance Poison – A Passage Above from Matthew Caron on Vimeo.
Music: Long Distance Poison
Video: Matthew Caron and Rebecca Gaffney
Available as part of the Fin Records LP/DVD release Gliese Translations by Long Distance Poison
Buy Gliese Translations from Fin Records http://finrecords.com/store/gliese
Matthew Caron and Rebecca Gaffney’s collaborative video A Passage Above is a direct investigation into the inner workings of contemporary and antiquated technology. “A Passage Above” employs projection, lights, mirrors, and cameras to craft a feedback chasm representing a journey into the innerspace of the camcorder, the VCR, and the Edirol V-4 video mixer.
- From the catalog for Manifest Destiny, a public exhibition at Outlet Fine Art in Bushwick, Brooklyn
A Passage Above first appeared in the real world as part of Manifest Destiny at Outlet Fine Art on April 19, 2013. It premiered on the internet at Decoder Magazine on June 11, 2013.
Materialization/De-materialization, by Marco Brambilla
a video projection on water
with a performance on the organ by Cammisa Buerhaus
Shot and Edited by: Matthew Caron
After Hours is a series of ephemeral installations and performances hidden amongst the Times Square district’s diverse venues, recorded for radio and video dissemination. Taking advantage of the twilight moment before midnight, and a surreal array of different settings nestled throughout the Times Square area, the Times Square Alliance and the Clocktower Gallery & ARTonAIR.org come together to offer tantalizing glimpses of these spaces as creative catalysts. Pairing musicians and artists with each of these unique contexts, the artists create work specifically designed to draw on the neighborhood’s history as a social and artistic melting pot. The fleeting nature of these late night experiences highlights the power found in taking the synchronicity and spontaneity of an After Hours encounter beneath the bright lights, and using it to inspire and indicate future audio, video, and performance work.
Follow Times Square Arts at @TSqArts, @ArtonAir or #AfterHoursTSq
Gypsy & The Cat “It’s A Fine Line”
Alsatian Music, 2013
Directed by Matthew Caron
The Pieces are fading
A heart deformed by waiting
The thief of time is erasing you
Those people those faces, deep in my mind
I hear them parading me tonight.
Am I wasting time if you’re in my mind
While the moon is ripe above me
Well it’s a fine line, yea it’s a fine line
Look inside spy the clues
Candle light across the loom
The feeling comes and chases truth…
PVRE MATRIX _ HD ACID from Matthew Caron on Vimeo.
Shattered Shards– the freeform, visual collab curated by wayfaring Brooklyn souls Matthew Caron and Rebecca Gaffney– is less of a directorial excursion than a freeform video jam session. No more clearly is this seen in their spastic, claustrophobic visuals for Brooklyn’s PVRE MATRIX (a.k.a. Daniel Moore). Taken from a set at La Sala, the video is built upon on a frenetic display of glitched video feedback, whip pans around the venue, and mirrored, kaleidoscopic original footage that’s all attack and no release, a sound match for PM’s tightly coiled, tension-riddled version of industrial music. – AD HOC
CLITERACY: 100 Natural Laws, by Sophia Wallace from Charlie Grosso on Vimeo.
I created this promo video for Cliteracy: 100 Natural Laws, an installation work by Sophia Wallace, represented by Baang & Burne Contemporary. Cliteracy is appearing at SCOPE NYC March 6-10, 2013.
Long Distance Poison – The Three Voices of Tawûsê Melek from Fin Records on Vimeo.
Before we got all comfy with EPGs and Guides and TiVo there were ‘flicking channels. And when you flicked channels you built up a bizzaro narrative from the fragments of TV that clunked in front of your eyes. People wrote endlessly about this as if these machine narratives gave us some insight into 20th century malaise; but In some Cronenberg-ian daydream these channels were not fragmented, they hung around and decayed over each other, melting together in an orgy of RGB (or Y’UV / Y’IQ, pedants).
Rising and falling and obtaining, in a Paralax View style, some sort of mental hold on you through its pixel overload, it nonetheless has many moments of almost woodcut beauty (see the black and white section with the peacock). Although mind-melded to the music throughout, interestingly, the video’s own momentum keeps it going well past the song’s end; like some whirling dancer still jerking up into the air long after the music’s stopped and the lights are on.
Matthew Caron’s hypnotic destruction of video is what’s being described above. They’ve done this in the service of “The Three Voices of Tawûsê Melek” by Long Distance Poison. This video is included on a DVD that will, in turn, be included with the Gliese Translations LP/DVD which can be pre-ordered here.
“The Three Voices of Tawûsê Melek” and a collaborative video performance with Rebecca Gaffney titled “A Passage Above” are included on a DVD packaged with the 12? vinyl of Gliese Translations, available from Fin Records 3/19/2013. PRE-ORDER HERE.
Long Distance Poison is Nathan Cearley, Erica Bradbury, and Casey Block. Matthew Caron performs projections.
I recently created four videos for Boys Don’t Cry, presented Baang + Burne Contemporary. Boys Don’t Cry is a three person show featuring the works of Joseph Cultice, Chris Jehly and Rich Tu. These three artists stemming from different disciplines, working in different mediums, come together in Boys Don’t Cry. Finding a pathway to express their desires, fears, and unanswerable questions poignantly through their work are what each artist has in common. By utilizing personal demons stuck within, each unfolds the inner workings of their psyche earnestly, explosively, sarcastically, violently and with hope.
Boys Don’t Cry: Opening Night
Boys Don’t Cry from Charlie Grosso on Vimeo.
Rich Tu: There Will Be No Survivors
In comparison to Cultice and Jehly, Rich Tu’s massive minimalist drawings are a new beast, a contradiction in itself. The simple drawings stand up and declare a singular message from an exceptionally large stage (some measuring up to 50×50″), with equal part wit and macabre innocence. From the series There Will Be No Survivors, the viewers are confronted with a dark humor sliver lined with a toy solider delight. Irony is easy to deliver. To discover substance and vulnerability beneath repartee is a rarer find. Contrary to the trending aesthetic of contemporary art, which is often filled with saturated colors, bling, shine and excessive glamour, Rich’s work strips away the “pop” sensibility and offers up an elegant, black and white, naked, quiet scream.
Rich Tu, Artist Profile from Charlie Grosso on Vimeo.
Chris Jehly
Drawing from cartoons and comic books circa 1930’s and 40’s, Chris Jehly’s large scale paintings use comic illustrations and cartoons to explore how one “can mask, distort, vilify, and amplify the perception of everyday life.” Many of the cartoon characters express elements of racism, misogyny, sexual innuendos, and drug use. The characters bring into focus the politics and social codes of the period, rendering them comical by exaggeration. Jehly uses these references and applies them to his own work with a deft hand, side-stepping the realm of appropriation and social commentary. Without using any pencil sketching as a guide, Jehly goes straight to the canvas with paint, bringing an element of surprise, spontaneity and fluidity to what appears to be highly controlled and calculated work. Extracting the sense of impromptu from his early street art roots, Jehly doesn’t dictate the orientation of the canvas. There is no up or down, north or south; he continuously turns the canvas as he works, approaching the piece from different angles, thus keeping the graffiti element of surprise intact.
Chris Jehly, Artist Profile from Charlie Grosso on Vimeo.
Joseph Cultice: The Garden
Joseph Cultice is a photographer with a prestigious career of high gloss, superstars and cultural icons. He spends his days attempting to chip away at the façade to reveal a fraction of the real story underneath the persona, to construct the idea that “pop is personal.” Boys Don’t Cry includes luscious images from the series, The Garden, a photographic series that questions our contradicting desires for limitless debauchery and domestic bliss in equal measure. Our incongruous desires are rendered with Lynchian surrealism into a messy domestic life interspersed with seemingly wild liberation. Is the nuclear family still a relevant dream for contemporary society? The intricacies in the intimacy of the family scenes are all the more poignant once we understand the “models” are his own family and himself.
Joseph Cultice, Artist Profile from Charlie Grosso on Vimeo.
Boys Don’t Cry pairs three of Baang + Burne’s newest artists for an unexpected show, working with and against each other, to unmask the volatility of contracting desires we hold within.
Oct 4 – Nov 8
Gallery Hours Wed – Sun, 12-6pm
548 W 28th St #238, btw 10/11th st, NYC
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