In a world of conflict and uncertainty,
sometimes it’s nice to look at something which is just immediately
pleasing to the eye, with no obvious undercurrents. The work of
Matt Sewell is perfect for just such moments. His is a world populated
with foxes and other cutesy wildlife, flowers, trees and pretty
waif-like women in knee socks and/ or flipflops, usually daydreaming.
What’s your background?
I’m from County Durham, but I studied in Ipswich (the then
home of Photek and Nik Kershaw!). I spent the next five years in
Brighton, before moving to Manchester last October after meeting
a lovely girl on the beach that summer and falling in love. I amazed
her with my dynamic trampoline skills and she wooed me with a fantastic
array of small knickers!
How do you describe what you do?
I’m not a graffiti artist really: I don’t paint trains
or do words, but I do use spray-paint. And illustration jobs are
so sporadic that it really doesn’t seem like a viable career
option. It’s kind of hard to pin-down really: without sounding
like a knob I should call myself an artist.
What inspired you to start doing graffiti art at all?
By just being totally blown away by it when I first saw it. I started
with vandalism when I was about twelve and then flirted on the edge
of the scene for years. I should really have been hitting it hard
when I was sixteen/ seventeen, but I got into going to raves, clubs
and free parties. My friend Ponk once said that we’re missing
a whole generation of British graffiti artists due to the rave scene
in the nineties. That’s something I truly believe and understand.
What do you think of the graffiti scene these days?
Stencils just bore me. Its lowest common denominator — anyone
can do it. Which I know is its charm but how many good stencils
do you see out there? But graff on the other hand, never ceases
to amaze me. I personally think Bristol and Brighton in particular,
are constantly producing totally fresh and amazing work.
Nowadays we are a far more graphics-conscious nation. Why do
you think this is?
I know what you mean, it seems like every fucker has an opinion.
I personally prefer British graphics from the 50’s. Maybe
designers have taken on the role of the great artists to shape objects
of desire. I know I would rather look at a beautifully designed
stool or Ben Dury’s work for Mo’wax than go to an art
gallery.
Which other artists do you take inspiration from?
Bill Watterson, Tove Jansson, Goscinny and Uderzo, Winsor Mckay.
Also, I love Swiss graphics and Polish film posters.
Do you ever get any flak for your subject matter in what’s
generally perceived of as the gritty urban world of graffiti?
I’ve had nothing but compliments to my face, but God knows
whats said behind my back. I’ve met some real hardcore writers
over the years and they’ve told me they like it and are into
it. I think maybe it’s because I’m not trying to be
something I am not. I have had noses drawn on my girl’s faces
though, many times.
Much of your work has a bittersweet melancholic quality, with
many of the subjects seemingly lost in thoughts and dreams. Is this
reflective of your own personality?
Yup, I am very much a day dreamer and I do love a good melancholic
love song. Most people are much deeper than you think, and I like
trying to capture that.
©Nude 2005. Extracted from a longer,
extensively illustrated feature which appeared in issue 6 of Nude
(Apr/ May) 2005.
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