Your bringing together geological transformations and neurological mechanisms of disease as metaphors of and for the changing landscape of your ancestors is very poetic and insightful. Deep thinking is taking place here where you look at the small-scale histories of individuals of significance to yourself and extrapolating into the past inhabitants of the region. This authentic rootedness is developing into a wide-reaching narrative. The memory of the individual likened to the memory in the landscape, a landscape shaped by its inhabitants who are in turn shaped by it. A close poetic scrutiny of the reciprocal relationship that speaks of the whole and not the parts. 

You link the fossils with medical imagery which is has a long reach into interesting insights. You also bring in the erosion of your land which again ties in with the erosion of memory; yet intimate that geological action uncovers memories that have been buried for a very long time. You make me think of the memories that are uncovered by the erosion of the present to disclose the past. This happens in cases like dementia, where the past can be more present than the now. 

Your approach towards printing is an interesting conceptual turn which you link with words to subjects of your investigation, particularly geology and the translation of flat images into aerial views into images of the past is truly transforming. You also bring the broad landscape into the personal through your childhood interests emerging into your current practice through a serendipitous find of your parents. Yet you are not afraid to reach into unfamiliar territory and experiment with new techniques and ways of visualising such as 3D video. I very much look forward to what you come up with. 

Your investigations are inspiring for your coherence and clarity through synthetic thought. You bring the past into the future effortlessly linking the distant past and the future, the small and the large. 

I look forward to your reconstruction…

Q - Do you have a vision of what form this reconstruction might take and how will you navigate your way to this?

Q - Where do you feel is the pivotal conceptual point of your investigations and do you see it changing over time?

Q - I notice that transformation sits at the centre of your mind map, what do you consider to be the driving force in all this?

The palaeontologist Stephen Jay Gould is a fabulous essayist, he weaves ideas into his narratives in a similar way to your approach and you might find correspondences of narrative building in his books, particularly the anthologies such as ‘Bully for Brontosaurus’, ‘Dinosaur in a Haystack’ etc. 

This is a link to a website where these and many many more have been published. http://www.sjgouldessays.com

Have you considered writing?

Matt’s construction of narrative, folding in different streams, reminds me of Stephen Jay Gould, Palaeontologist and Essayist, his essays sweep ideas together in classic form taking one through a disclosure of idea that eventually settles as a sedimentary bed in ones mind, creating a geology of thought.


There seems to be a clear link between digital erosions of imagery and the erosion of land. I’m curious to see how your use of depth-maps might be integrated in a more interactive way? Being able to navigate through these embossed landscapes in real-time?

Transition, deconstruction, erosion, movement, growth captured in the form of still life. The fossil itself is emblematic of the ‘frozen-in-time’. A relic of natural history. I really admire the way in which you then further connect that relic with more contemporary material/languages/tools. This juxtaposition further examines the relationships we maintain with nature - how we mark our way through the organic landscape.


Interested to see how your work develops and see elements of psychogeography in what you do - returning to mapping and defining pathways through your processes.


I like the main hue of your work as well as the texture. Your works seem to be highly related to personal memory but you described it as a shared language. I know you collect a lot of fossils and make various print. The elements about nature are seemingly playing an important role. Do you think human memory is part of the nature or divide from it as we are all individual but nature is the space with man’s collective memory.


I am intrigued with the combination of your research with geology, landcape and neurology, triggered through Alzheimers desease going back to early memories. My mother once said something very related to this. When I asked her why she wanted to move far away in the mountains when she was older, she said we all have an interior landscape, where we find peace and want to return to and they are older then us, somewhere inlaid. My dad moved to the flat straight country, quite arid and with wide flat views. My mother moved to the green mountains, always thrilled to see the world from above. They are both 80 and they both lived in a big city most of their time. Getting older they moved to their ingraned landscapes.


Audio is helping immensely mood wise. Beautiful imagery and transitions. Very pleasant. Gives me a very good idea of your work, the amount of research, your struggles and where you stand at the moment. 

Makes you want to watch it again and again. Brilliant, well done. I love the subject matter and I admire your courage to tackle a phenomenal amount of data. 

I also think that the topic provides a a very interesting match to digital media and will result in the result being in a striking contrast with the medium chosen.


Both the video and the supporting narrative are definitively immersing and thought provoking. There seems to be a reference to a range of exciting primary sources with evident personal connections and a strong emotional charge. The work is reflective, melancholic and ambiguous, and this process is enhanced and extended by a chain of descriptive yet logical quality developments and improvements.

I felt that the spoken narrative was more important that the element of visual communication and your words appeared to be more powerful than images. Therefore, the overall creative journey would benefit from improved critical experimentation, risk-taking leading to alternatives and making a claim of knowledge.