Matt Mahurin - Searching For Truth In The Darkness
Kurt Cobain - Matt Mahurin
You know the images.
They've served as social commentary stunning the covers of TIME,
Newsweek, Esquire, Rolling Stone, and too many others to mention. You've also seen the videos created for such
iconic artists as U2, R.E.M., Iggy Pop, Metallica, The Ramones and Tom Waits -
the list goes on. But if you happened to
be a fellow artist living in Los Angeles in the late 80's and 90's, seeking
inspiration beyond the safe and predictable, the name Matt Mahurin evoked a
combination of admiration and consternation - a formidable figure in the LA art scene. Unarguably, if you knew his name…you were hip, and when he exhibited, you were there.
Matt Mahurin
Tom Waits - by Matt Mahurin
He was the one who landed the cover of TIME Magazine at the
age of 23; but if you thought you could imitate him with the dodging and
burned-edged photo manipulation, you could bet he was already putting the
finishing touches on something so innovative, that by the time you sussed out
the formula, he was striking out in newer and more unfathomable directions.
U2 - Love is Blindness - Matt Mahurin
Arles, France - Matt Mahurin
Lou Reed - Matt Mahurin
Tom Waits - Hell Broke Luce - Matt Mahurin
Matt Mahurin is no stranger to controversy, and his disquieting
imagery was rarely as blatantly demonstrated as in his infamous TIME magazine
mug shot photo manipulation of O.J. Simpson.
TIME Cover - O.J. Simpson - Matt Mahurin
Marilyn Manson - Matt Mahurin
Most of my readers are well familiar with his work; it's surrealistic
and provocative, and yes, it's dark; but the imagery is there to remind us that
dreams and nightmares often share the same shapes, and how they are interpreted
sometimes reveals more about the viewer than the originator.
Carnivale - Painting -Matt Mahurin
Now based in New York City, this California-born artist,
illustrator and film director's works are included in the permanent collection
of the Metropolitan Museum of Modern Art.
He is also the illustrator of three children's books, My Beautiful Child, Grumbles From The
Forest, and Once Upon A Cloud.
If I was asked to describe Matt Mahurin, multifaceted would
be my reply, but socially conscious would be what I'm thinking. Several months ago he illustrated his second
US postage stamp for Alzheimer's Awareness. As a documentary photographer, Matt has brought worldwide attention to the problems of homelessness, the AIDS epidemic and man's inhumanity to man within the US prison system.
Texas Prison - Matt Mahurin
Alzheimer's Awareness Stamp - Matt Mahurin
In 2015, he was commissioned by the UK band Muse, to create
the cover and video for their 7th album, 'Drones;' and he is perhaps more in
demand now than ever before, which accounts for the year-long 'jump cuts' the
proceeding interview has taken us to hammer out! Ironically, however, that somehow seems
appropriate.
Muse - DRONES - Matt Mahurin
Above all, Matt Mahurin is an artist with a keen awareness that
the lines between the creation of art and its reflection of the society in
which we live should never be blurred, if they are to withstand the test of
time. To provoke, as a creative, is to
inspire one to not only recognise the beautiful, but to embrace the darkness
that exists within each of us.
For over
three decades, this is exactly what he's been doing, and it is this fearless
approach and fluency within a realm of materials, from the purity of paint and
palette to the masterful skill of digital media, that has encouraged others to create
beyond the boundaries of acceptable limits, and allowed him to seamlessly evolve throughout
the decades, whilst solidifying his rank amongst the very best of his peers.
Photo Credit - New York Times
GH: The first time I heard the name Matt
Mahurin was back in the late 80’s in reference to the video you did for REM’s
“Orange Crush” – which according to Michael Stipe, was not about the soft
drink, heroin or acid tabs, but rather “…about the Vietnam War and
the impact on soldiers returning to a country that wrongly blamed them for the
war.” I’ve never forgotten the haunting images in that video. Can
you tell me more about the narrative running through it, particularly the juxtaposition
of the solider and the little boy?
MM: It’s not my thing to explain what a piece means
– although I can say that my intention in every creative endeavor is to put as
much of myself into it as possible. Whether I’m collaborating with brilliant
artists like REM, U2, or Tom Waits to name a few, I believe I am chosen to
contribute my ideas and emotions to present a visual exploration of these
amazing musical talents.
Over the years, I have done countless projects
on the horrors of war and simply feel fortunate to be able to have the
opportunity to express my feelings and opinions in a format that has a global
reach.
GH: I consider you an artist with a social
conscience. You’ve illustrated and worked as a photo essayist concerning
such heady topics as homelessness, the AIDS epidemic and man’s general
inhumanity to man – I am referring to your work with Time and Newsweek,
etc. Can you tell me how you made the transformation from creating within
the purview of a solitary illustrator to working in the highly social realm of
directing music videos?
MM: Whatever technical skills or creative styles I
possess, I have always believed the message of the image is most important, and
most lasting. Whether it’s standing alone in my studio or surrounded by a rock
stars and a killer crew on a sound stage, I will use every format to express my
opinions. It is both an honor and a thrill to be given the resources and
respect to offer my point of view on so many important issues and concerns of
my time.
GH: In 1993, you did a video made
especially for the AIDS/HIV benefit. It was for one of my favourite 90’s
bands, Urge Overkill, and the song was “Take A Walk.” It’s really a beautiful
reflection of the song - from the psychedelic images meshing with the sitar to
the pills being automatically swallowed to the lyrics, "I don’t pray anymore – I
don’t love anymore." As a video director, how do you work with metaphor
and deciding when to stay true to lyrical content and when to stray to more
personal or even surrealistic interpretation?
Take A Walk - Urge Overkill - Matt Mahurin
MM: Like any successful endeavor in life it is
always about a healthy balance. When I shot the AIDS piece, I simply immersed
myself in a new world, in this case, an AIDS hospice, and then went about the
journey of capturing and responding to those moments and gestures that I
believe would most honestly and deeply convey my intention. For this piece the
challenge was to balance the tragedy of AIDS with the humanity of those who
devote themselves to bring comfort to those who suffer. I do my best with every
project to fuse the truth of my subject’s world with the intuition of my mind’s
eye.
AIDS Hospice - Matt Mahurin
GH: As an artist who naturally gravitates
towards the darker side of things, I find your work comforting, however many
consider it tenebrous if not a little disturbing at times. Someone
pointed out to me in reference to the male shadows in my paintings that Jung
considered the shadow an unconscious aspect of the personality. You also
have a reputation for frequently using your own image in your creations.
This seems highly personal to me – affirming a tangible connection to your
work. Are your videos entirely tailored to your clients or will
there always be the aspect of subjective artistic integrity embedded within
them?
MM: Using myself in the work is often more a result
of efficiency as I often have to work under tight deadlines—and there is no
time to find a model. It is also an issue of control as I don’t have to worry
about conveying my needs to another’s interpretation.
My videos must of course suit the needs of my
clients, but I would only do this work if I felt I had great freedom and
opportunity to express my personal point of view and creative vision.
When creating the videos I believe that the
artist has given me their song as a soundtrack to my little movie. Because of
the powerful artists I work with, I must present a strong vision to avoid the risk
of my visuals being overwhelmed by the intensity and quality of their music.
Although I will sometimes be very focused on a specific storyline, I often choose
a more open-ended approach to the narrative; allowing the viewer to interpret
the images with a more personal and poetic response.
GH: I’ve watched your work evolve
throughout the years from illustration to music video to film. As well,
your photographic prints now reside within the permanent collection of The
Metropolitan Museum of Art in New York City. No matter what medium or
modality, there is an unmistakable ‘look’ to any Matt Mahurin creation, and you
appear to be someone who knew from the beginning what visual image he wanted to
project to the world. What is your advice to young artists regarding
belief in one’s own vision; or is flexibility a more important asset and
definitive ‘style’ something that must be earned?
MM: I deeply believe that whether it’s a camera,
paintbrush or computer, these are simply different tools in the same hand.
Whatever accomplishments I have achieved is as much a product of my failures
(of which there have been countless) as it is of my successes.
What I believe is most important to true success
is to be true to one’s beliefs and desires—and to not be afraid to take risks
and speak up. I also believe being a solid professional is the foundation to
creative freedom—to handle the challenges of the real world demands while still
preserving the freedom to create with abandon and conviction.
And finally, to love what you do, trust yourself, and believe that what you have to offer as a creative being is not only unique and worthy, but has the power to truly enhance the lives of others.
GH: Lastly, I was really excited to see
your cover design for the Muse album Drones. Much like the social
commentary in Orange Crush, Muse’s 2015 concept album concerns the
dehumanization of modern warfare. How did the project with Muse come
about and what was it like working with the band?
MM: I was being considered to direct a video, but I
brought all my social/political illustrations to the meeting because of the
band’s commentary on abuse of power, social injustice, and authoritarianism.
The band were in synch with my point of view and
the project just kept growing to include more images on crucial issues.
Because of the global reach of Muse’s fans, it
was exciting to be able to connect with an entire new generation of young
people with images with a message.
GH: Thanks, Matt. Looking forward to the next three decades!
Paul Westerberg - Runaway Wind -Matt Mahurin
"That’s
the scary part...
I didn't know if I should
smile,
crack up,
scream
or run..."
- The Wizard of Oz
The Wizard of Oz - (1939)
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