20 May 2014

Greely Myatt at David Lusk Gallery | Nashville

Greely Myatt
“having said that”
Having Said That, reclaimed signage, plastic, metal 
David Lusk Gallery
Nashville, TN
April 3 – 26, 2014


Visitors were welcomed into Myatt’s recent exhibition “having said that” with work of the same title, Having Said That, a wall sculpture made of reclaimed signage and lighting. The words have a sense of transition, as if going from one thought into another of an opposite nature. Other than that simple, yet imposing phrase, the remainder of the dialogue was left mostly to the viewer.

Oh $#*t, reclaimed shop table, wax, aluminum
There is an extreme wit and charm in Myatt’s work that is likely to be found only in the context of the Southern vernacular. In this particular exhibition, Myatt’s art focused almost exclusively on the idea of conversations, a characteristic that is a large part of the rich oral traditions of the American South. Though open for interpretation, it is rare that these ideas would venture far outside the realm of humor. The best example of this is the piece Oh $#*t.

Untitled Page (Hagar), Untitled Page (Beetle Bailey), painted and polished steel, air
An image list included “air” as a medium for a majority of the work, referencing the space that conversations take place in with an ambiguity that makes all ideas possible. This space in which dialogue occurs is symbolized in Myatt’s work as the conversation cloud, originating from comic strips and developed further in Pop Art. The motif is alluded to directly with his metal wall sculptures Untitled Page (Hagar) and Untitled Page (Beetle Bailey).  These clouds were found extensively in the exhibition including the large steel sculpture Snake Oil. Other word play included the sculpture Verb, a reference to Myatt’s well-documented attitude that “art is a verb”, the action of movement and creation.


Snake Oil, steel, air (left) ReTreat, cookie tins (left) 
Artwork by Myatt is created with common and repurposed materials like wooden tables, metal and napkins for this exhibition.  Throughout his career, his materials have included nearly any household material from spray foam to cookie tins in ReTreat, a large thought-bubble-turned-question-mark. This play with material and personal creative process are a self-reference to the artist’s attitude about art being a verb and his personal background of rural Mississippi. His strong regionalism gives him firm ground of sources and while simultaneously demonstrating a larger scope of influence and unique synthesis for a broad perspective.

Exhibition view


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