The End of Time

ROB MATTHEWS

Painting | 2015

 

This body of work is made to spend time considering events and people that get lost in the shuffle of the ever-changing news cycle.  Themes of upheaval, power, displacement and the unspoken message of “home” anchor the work.  In The End of Time, the figures stand on a coastline with reddened water behind them.  The composition is borrowed from Picasso’s Pipes of Pan. Picasso’s piece overlooks a calm Mediterranean view. Rather than use this peaceful view of the sea that has, for generations, brought people to it for its tranquility, I choose to depict the Mediterranean for the millennia-old bloodbath that it is. In the bottom left of the piece is a head. It is that of Matthew Ayariga, the lone Ghanan decapitated alongside 20 Coptic Christians from Egypt on a Libyan coast.

 

Size

69 × 81 inches - Unframed

 

Materials

Gouache and sumi ink on paper on canvas over wood panel

 

Authenticity

Hand signed by the artist

The End of Time

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ROB MATTHEWS

Painting | 2015

 

This body of work is made to spend time considering events and people that get lost in the shuffle of the ever-changing news cycle.  Themes of upheaval, power, displacement and the unspoken message of “home” anchor the work.  In The End of Time, the figures stand on a coastline with reddened water behind them.  The composition is borrowed from Picasso’s Pipes of Pan. Picasso’s piece overlooks a calm Mediterranean view. Rather than use this peaceful view of the sea that has, for generations, brought people to it for its tranquility, I choose to depict the Mediterranean for the millennia-old bloodbath that it is. In the bottom left of the piece is a head. It is that of Matthew Ayariga, the lone Ghanan decapitated alongside 20 Coptic Christians from Egypt on a Libyan coast.

 

Size

69 × 81 inches - Unframed

 

Materials

Gouache and sumi ink on paper on canvas over wood panel

 

Authenticity

Hand signed by the artist

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Behind the Scenes

Rob Matthews

Nashville, TN
PAINTING

An encounter with one of North Carolina-born artist Rob Matthews’ works can be curiously disorienting. In one way, you’re sure you’ve never seen anything quite like it before. But on the other hand, something about it feels familiar, making you linger a little longer as your brain tries to pick out what that something could be. In Flight to Egypt, it’s probably the underlying composition, which Matthews based on...