If you were to tell the New Zealand born artist Matthew Couper that he is living in the wrong era -- and possibly the wrong city -- he would just smile. He is more than comfortable being anachronistic.
Couper, who specializes in making contemporary paintings that have their stylistic roots in Spanish Baroque colonial art, says that he is "OK with being part of a tradition." Add to that, working and living in Las Vegas, a city known for theatricality, luxury and its tolerance of sin, suits Couper beautifully. His style may be 300 years old, but his art needs social extremes to activate its sense of morality, and he sees potential in the city. "Las Vegas is a one in a million place," Couper comments, "and there is no parochial sense of what art is."
Matthew Couper with the sarcophagus of Fra Angelico in Rome, Photo: Jo Russ
Being a recent immigrant to the U.S. has also contributed to the complex, hybrid nature of Couper's imagery. "I'm starting from scratch," he notes, "but knowing that I need to assimilate socially and culturally but while retaining a sense of where I came from." Couper came to Las Vegas -- by choice -- in mid-2011, and although many of his themes are universal, he knew that Vegas would give him something he could "tap into."
An artist with a Kafkaesque view of the world, Couper uses his art to narrate personal uncertainties, and frustrations. He has found more than enough strangeness in Vegas -- and in America -- to challenge and stimulate his secular piety. Couper is both an intuitive, a moralist and a visionary. His recent oil, Trickle-Down Theory, which features the Las Vegas Stratosphere tower pissing out a golden stream of urine over a Boschian cast of characters, makes a dark pun on conservative economic theory, and manages to do so with religious conviction. The resulting image is compelling, perplex and idiosyncratic; a pagan Catholic Cirque du Soleil.
Matthew Couper, Trickle Down Theory, 2011, Oil on canvas, 58" x 46"
Couper grew up in a religious household, but not a visually devout one. He recalls that religion was "kind of there...but no dripping Spanish crucifixes." Still, at age four he drew his first crucifix: he had seen one at his grandparent's house
As an art student, when Couper first came across an ex-voto painting -- a small blue painting on rippled tin -- he felt an immediate pull. "That small image of a Mexican woman kneeling before a vision of the Virgin of Guadalupe held it's own on the wall," says Couper; "It pinged!" As he intuitively realized, Spanish colonial art, with its saints, monsters, and acts of devotion, represents a very powerful moment in culture; the moment when a pagan society collided with orthodoxy.
Couper soon started collecting both retablos -- paintings dedicated to a particular saint -- and ex-votos, which describe personal experiences and offer thanks. They have given him a narrative vocabulary, and he also admires their humility. "I think I like them because there's no cult of personality tied up with these works," Couper comments. "In fact the artists were really artisans just doing 'God's' work. No politics, no egos, what a great way to earn a wage!"
Ex-votos and retablos, with their stark symbolism, were painting to be instantly understood by largely illiterate populations. Couper, on the other hand, is painting for a population that has been overstimulated by too much information and too much entertainment. By appealing to our neglected religious imaginations, Couper has paradoxically managed to make images that stand out as literally unorthodox.
Couper likes what happens when an ancient symbol is brought into a contemporary context. In Trickle Down Theory, a snake with the dollar bill's Great Seal on it's back stands for the shrewdness and astuteness of art collectors. In 21st Century Caravaggisti, Las Vegas, NV, a painting monkey "multi-tasks" at a strip club, evoking Couper's sense of the "work hard/play hard" American blue collar workers that frequent Vegas casinos.
His symbols, which can seem jarring in a contemporary context, may strike some as Surrealist, but that isn't quite right: they are pre-Surrealist -- in fact they are pre-Englightenment -- and don't need to be seen as having Freudian meanings. Couper puts it this way: "I do like Surrealist artists such as de Chirico and Magritte, but I see them as part of a long lineage of painters going back to the image-makers in the Lascaux Caves." Couper's symbols aren't self-conscious or over-thought; they are an acquired vocabulary that his imaginative mind uses nimbly.
Matthew Couper, "New Self-Portrait," 2011, oil on metal, 11" x 8"
Interested in what happens when cultures merge and hybridize, Couper doesn't hesitate to combine eclectic cultural products. In a recent self-portrait, an African power figure stands in a blender, holding the scarred silhouette of the artist in an uncertain symbolic relationship. Behind the figure a tree sprouts red planar leaves that recall the suprematist paintings of Kasmir Malevich. "The Nkisi Nkondi power figures interest me because of their devotional significance," Couper comments, "But I still haven't entirely worked out what this painting means."
Matthew Couper, "2000 (retablo)," 2009, oil on metal, 14" x 11," image courtesy of Paul Nache
Couper's ideas, whether they appear to him in the shower, or in a dream, come from simple personal experiences, but take on a new life when expressed by his anachronistic and esoteric symbols. In a 2009 retablo, for example, Couper conjured up a robed friar gnawing a human leg to express how he felt about a 15 hour per week job teaching art at Wellington High School. A red inscription -- "A man's gotta EAT!" -- provides a rationalization for this instance of Catholic cannibalism.
Darkly funny, and dense with symbols, Couper's paintings are his attempt to bridge the gap between the mundane and the spiritual. It isn't an easy job, but Couper has a powerful set of artistic traditions to draw on when he gets stuck. Couper is, in fact, one of the more humble and sincere contemporary artists working today. He is a storyteller on a pilgrimage, recording his experiences in a visual language that once spoke power to people kneeling in a church.
His best paintings shatter our cultural narcissism and remind us of what ancient peoples once knew: our fate is determined by saints and monsters.
Matt Couper: " 'Amerika' is based on Franz Kafka's novel of the same name, originally called 'The Stoker' ('Amerika' was added posthumously). As a recent immigrant to this country, the novel strikes a chord with my experiences of settling in a new place. The central figure in the painting holding the USA relates to the initial meeting of Karl Rossmann and the stoker who has just lost his job - a somewhat apt analogy to the financial crisis in taking place right now. Kafkaesque notions of uncertainty, anxiety and frustration have always interested me and to finally get around to using it in a painting hopefully adds a bit more currency to my practice."
Matt Couper: "In 2006, I started a painting called 'Barr Barr Black Sheep' that took the Alfred H. Barr Jr. chart 'Cubism and Abstract Art' and replaced all the tags and labels with the development of my own short art practice. The painting, which has the Roman She-wolf nursing the Parthenon and a Maori pataka (a hut used for storing important items), La Mano Poderosa (The Powerful Hand, found in Mexican retablo painting), an illuminated letter 'A' and a Philip Guston reference to his 'Deluge III' painting of 1979, try to find a balance of sustaining influences, trying to locate my artistic practice in a new country, while almost feeling like I'm starting from scratch but knowing that I need to assimilate socially and culturally but while retaining a sense of where I came from."
Matt Couper: "I'm using the transmutative idea of the 'Solutio Perfecta' (perfect solution) from alchemical texts as a parallel for a 'new' birth in a 'new' (to me) country. That glass distillation beaker object is often aligned with the 'sacred crucible' or the 'Holy Grail' which would produce the Golden Soul or Golden Child and I have that hovering over a grave which shows a necessity to kill off or destroy in order to remake or recreate, so it references both practical artistic development, along with the analogy of me coming to a new country. The two forms of the Parthenon and Pataka are used again as a superior/inferior symbol and they're attempting communication (the tablets and the Europeanized Maori Koru forms as made by New Zealand artist, Gordon Walters. I referenced Walters in some of must earliest art work about communication and miscommunication in art and culture."
Matt Couper: "With my interest in Mexican retablo painting and the vagaries created within the merging cultures, the Nkisi Nkondi power figures interest me because of their devotional significance. Apparently, it's been suggested that the spikes and other objects nailed into the figure was adopted from Christian images of martyred saints introduced in the Congo area during the time of the Portuguese travellers carrying Catholic missionaries. The Nkisi in the blender sets up a weird dichotomy with perceptions of who you are, where you're from and what you will add or take away from your new location - this could be the weird conversation played out between the Nkisi (saying beato - brother or happy) and the silhouette (saying 'nothing') . The self-portrait silhouette is scarred the same way the Nkisi is burdened with devotional (or apotropaic) spikes and nails. I still haven't entirely worked out what this painting means, especially with the chain that's restraining the Nkisi or the Malevich tree..."
Matt Couper: "After seeing a Las Vegas-made film, 'I.M. Caravaggio' by Derek Stonebarger (film that takes a young painting student who is pretty much the reincarnation of M. d. C. living in downtown Las Vegas with Del Monte reformed as a Steve Wynn-like casino magnate etc), It got me thinking about how Las Vegas, because of its divisive position as a cultural center (Modernist kitsch, facades, the epitome of middle class 1950's Americana), its personification of what America is considered in regards to how it's seen outside of the USA, this film got me thinking about what kind of parochial art forms or artistic characters/personalities could be formed or developed here in a city that has not yet developed a look (bar the Hickey UNLV hard-edged abstraction and neon facade-like structures which seem to be a cousin of the Ferus Group from LA in the 60's) in a primarily blue-collar society where the theme seems to be work hard-play hard, the painting monkey is multi-tasking at a strip club..."
From an interview with Matt Couper by Scott Dickensheets: "The painting looks to side with the pessimistic projections about the ineffectuality of trickle-down effect, turning artists into painting monkeys / rats, dressed in stereotypical 19th century atelier smock, palette and tip jar. The snake / buyer with the dollar bill's Great Seal on it's back is the perceived shrewdness and astuteness of the art buyer. The pissing boy at top-right -- based on the Belgian fountain, 'Manneken Pis' -- is a play on 'the trickle', but he plays an important part as his urine acts as the connection or bridge between the ever-diminishing currency of coins. This could serve as an analogy for the difficulty an artist faces in exposing his work to a great audience and creating avenues to find homes for their 'orphans'."
Video: Matthew Couper
Follow John Seed on Twitter: www.twitter.com/seedhuffpost