Last Thursday I had the opportunity to view Matthew Dumpit’s artwork at the Marilyn Werby gallery. Dumpit’s art work is made out of metal and steel wire. It is very fragile, especially the movable, geometric configurations. The simple wirework embodies minimal line gestures. The wire-woven chair is very intricate, yet sturdy as well. Both installations are very tediously created, flowing into each other, yet sharp and bold at the same time.
Dumpit enjoys making artwork that moves. It ranged from 2 hours to 2 days to make each wire piece, while the chair took about a full month. Dumpit’s inspiration for the chair came from the arrangement of Victorian houses in Oakland. To create the chair, he heated up the wires so that it would be pliable and reshaped. He encountered battle wounds in making his pieces, despite the trouble of wearing leather gloves and heavy boots for protection.
The process of making his installations was very meditative and repetitive for Dumpit. As stated in the artist statement, his work begins with an emotional response of a multitude of emotions. He gets lost in construction, while he reflects on his life. The motion of his pieces allow him to experience specific feelings. It also allows individuals to have their own unique interaction with his metal-work. Dumpit’s geometric pieces are metaphorical for a constant change; “evolving and reacting” in its own way, just as emotions are easily transformed.
Dumpit’s work is intriguing. There is so much thought that goes behind the meticulously created wire-work. Some of the wire-pieces move in circular motions, reminding me of the ongoing, never-ceasing theme of life. Some are staccato and move in jagged ways, which remind me of the chaos and violence in life. The kinematics of Dumpit’s artwork truly is fascinating. It is curious how moving the levers and cranks can invoke a memory or feeling inside of us.