Matthew Deleget's "Pictures at an Exhibition" receives review in

November 10, 2012 Matthew Deleget's "Pictures at an Exhibition" was reviewed by international independent curator and critic Sylvie Fortin for, a publication long respected and widely known as a decisive voice in the field of contemporary art.
"Deleget's tight show proves the infinite power of the deft gesture." writes Fortin.
Read the full review here or at

Such recognition positions Deleget as a vital practitioner contributing to the shape and course of the visual arts.

This is the 9th nationally distributed independent review received by exhibitions in the Cress since 2008 to include Sculpture Magazine and Art Papers. Yet this is the first review a Cress exhibition has received in the internationally distributed and as well the first review in this publication for the artist, Matthew Deleget!

Matthew Deleget

752 Vine Street, UTC Fine Arts Center
October 9–December 7

View of “Pictures at an Exhibition,” 2012.

“Pictures at an Exhibition,” Matthew Deleget’s current solo show, features works made with common materials—painter’s tape, drywall screws, garbage bags, paint rollers, pushpins, and spotlights—which modulate walls, canvases, and pedestals to variously delicate, violent, and playful effects, and turn the gallery space into something of a construction zone. In the process, Deleget casts painting as a site-sensitive practice that enlists an expansive repertoire of gestures: wrapping, dipping, hammering, pushing, screwing, floating, flooding, and throwing away.

Deleget mobilizes a restrained palette—red, yellow, and blue; black, white, and gray. Three large yet unmonumental works anchor the main gallery. The entrance-facing wall is awash withColor Vulture (all works 2012), in which three monochrome floor-to-ceiling projections (in red, yellow, and blue) cast painting as event. A store-bought white rectangular canvas hangs hesitantly at the center of each pure-color projection: a reticent star in the hot spot. But stardom is here unsustainable and color unstable. Color bounces off the wall, sullying the edges of the neighboring canvases, while use unevenly and unpredictably fades the spots’ intensity. As one moves toward and along the work, one draws and redraws the canvases’ borders. Their shadows expand and retract uncontrollably on all sides. Viewers are left oscillating in a battleground between control and contingency. Ultimately, Color Vulture is a metaevent: a play on the rectangle in the third power. It also nods to Mondrian’s 1926 essay “Home-Street-City.”

One Thousand People Just like Me assaults a nearby wall with half-drilled-in screws, creating an immersive, if at times nearly imperceptible, grid. As one traverses the space, shadows variously thicken the screws/strokes, turning the work into a constellation of recombinant works-to-come. Across the room, Nuclear Error tenuously blankets a wall with twenty-five black thirty-gallon garbage bags, hung gridlike with static electricity and a few black pushpins. When push comes to shove, Deleget’s tight show proves the infinite power of deft gesture.

— Sylvie Fortin