Matthew Isaacson
Matthew Isaacson was born in Traverse City, Michigan and grew up working on a large-scale industrial fruit-manufacturing farm, a background that continues to inform and inspire his work. His current sculptural work focuses on complex installations of high-relief-cast-ceramic-tile forms, which often reference architectural elements or ancient ziggurats that are fused with colored, geometric patterns. Matthew received his BFA in Painting alongside a Minor in Music from Western Michigan University in 2004. He then received his MFA from Virginia Commonwealth University in 2007; he was awarded the Graduate Thesis Dissertation Scholarship. Matthew moved to Austin, Texas in the fall of 2019 after accepting the position of Associate Professor of Art in Ceramics. He has exhibited nationally and internationally in exhibitions that include solo exhibitions at the Duane Reed Gallery and the Luminary Center for the Arts, and a group show at SPACE Gallery in Pittsburgh; he also participated in the Xin Jiang International Sculpture Exhibition in China. Matthew’s past artist’s residencies have been hosted by the Luminary Center of Arts, the Ox-Bow School of Art and Artist’s Residencies, and Sugar Maples Center for Creative Arts. He has attended the Arrowmont School of Arts and Crafts and the Pilchuck Glass School.
Courses Taught
ARTS 2346 Ceramics I
ARTS 2347 Ceramics II
Associate Professor/Ceramics Contact
Website: matthewisaacson.com
Phone: (512) 223-3038
Email: [email protected]
Faculty Spotlight
What do you most hope students will take away from your class?
I hope students learn to appreciate the Ceramic Arts and have a new outlook on how challenging these materials can be. I also want them to realize that once they have a skill set and a better understanding of materials, they can make anything they put their mind to.
How would you describe your workspace? How has your practice changed during quarantine?
I’ve been lucky to have a home studio and also able to access the ceramics studio at ACC through the pandemic, aside from the initial 14-day quarantine period. Even then, I was able to broadcast from my home and still demonstrate hand building and wheel throwing techniques.
What types of books do you read? What are you reading now and/or what is one of the most treasured books on your bookshelf?
I read many different types of books from science, to contemporary mathematics on metaphysics and string theory, to a plethora of contemporary art history and periodicals focusing on ceramics, sculpture, glass, craft, and fashion. I’m currently reading, The Writings of Donald Judd, produced by the Chinati Foundation that focuses on a symposium of early lectures by 11 different artists, curators, and art historians. These essays reveal a deeper and more personal insight into Donald Judd’s life and early career as a struggling artist and his path to notoriety and fame.
[link to Donald Judd: https://juddfoundation.org/artist/biography/]
Name a place that you’ve traveled to, but feel like you need to go back to because you didn’t have enough time there.
China, there’s just too much to see and explore…plus the food is fantastic and changes throughout the various regions, cities and countryside villages.
What do you like to do for fun?
When I can find the time, I really enjoy the outdoors, camping, hiking, and fly fishing.
What is an early experience with art or a specific artwork that made you decide to pursue a career in the arts? How has that experience shaped you and/or how do you view art differently now?
When I was in my early formative, undergrad years, I had an opportunity to work with Jun Kaneko for two weeks. I mixed over 3500lbs of clay for him and I helped create a very specific solid block, a giant cube from the clay that I made, that was called a ”Chum.” When I first met Jun, he walked around the giant block of clay that we used 2x4s to pound into a very precise form. He spent about 30 minutes inspecting it, before he finally gave a simple nod of acceptance…he never spoke a word of gratitude, but we all knew the nod of approval was enough to give us hope to keep making more clay for him so that he could continue building his Dango forms. This was Jun’s last workshop; he gave, and would teach us about his unique practice and renown ability to move and sculpt large masses of clay. Since that very intense workshop in 2002, Jun has been a mentor and friend that I continue to gain insight and knowledge from, as we have worked together on various projects and exhibitions throughout my journey working with ceramics and clay. I have been very fortunate to meet and work with such an amazing person, who changed my life forever through a single workshop.
If there was one artwork that you could bring home and display during this period of quarantine, what would it be?
This is quite a difficult question; I live and surround myself with art in my home. If I really had to choose one singular work that I would be able to display, it would be White Center (1950) by Mark Rothko. The spiritual and meditative essence of this work, differently from other masterworks by Rothko, would give me a strong and positive reassurance and rejuvenation, enough to carry me through this strange and challenging period of time. We are all experiencing strife and being carried away into a political and societal maelstrom. These strange days require us to re-think and re-shape not only our personal behavior but also how we interact with each other and how we continue to live and experience the world around us—evolving day by day and sometimes minute by minute to hopefully become better human beings.
