Matthew Talbot-Kelly at Oxygen


Submitted by: 

Oxygen Art Centre


Artists in residence, Matthew Talbot-Kelly.

While in residence at Oxygen Art Centre, Talbot-Kelly will build a temporary, multi-part site specific installation, an assemblage made of two realities – physical and digital. This will be a domestically scaled fence/barrier/wall made from reclaimed and reconfigured furniture that is seamlessly and endlessly extended by an Augmented Reality (AR) overlay made visible via the built-in cameras on provided tablets. 

Talbot-Kelly will be in residence at Oxygen from April 15 through May 19, 2019. During this time the gallery will be open to curious visitors Wednesday to Saturday, 1 to 5 pm with Talbot-Kelly present to discuss his project with the public. The residency will culminate with a closing celebration on Friday, May 17 from 7 to 9 pm and an artist talk on Saturday, May 18 from 2 to 4 pm.

Matthew Talbot-Kelly is a peripatetic mixed media artist, filmmaker and architect. His wide ranging art practice comprises works in both analog and digital time-based media. Working variously from Dublin, Vancouver, Mumbai, London and Montreal, Talbot-Kelly has participated in residencies and exhibited internationally. “Oxygen Art Centre looks forward to hosting such a dynamic and accomplished figure with an eye for the absurd and experimental and ambitious aspirations while in residence in Nelson this spring.” Says Oxygen Art Centre executive director Genevieve Robertson. “Through building a barrier that is neither practically functional nor with a clear purpose, Talbot-Kelly’s work questions the absurdity of our personal empires, our desires to keep others ‘out’ and our possessions ‘in’.”

Walls are topical at the moment – they keep people out, they define space (a here from there), allocate membership within, separate public from private – though their resonance goes beyond a contemporary USA-centric lens.

“This construction will be capriciously placed, be made of ineffectual semi-charred ruinous source materials, it’ll have a never upright orientation, submerging and emerging from the interior surfaces: cumulatively this work will stray far from a utilitarian conventional fence,” says Talbot-Kelly. “As much as it will be an inept, useless wall, I’m imagining the results may also exhibit characteristics of a barricade. In this way, the construction’s political overture will be reoriented.”

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