FAQ
I get a lot of emails from people interested in my work and though I love hearing about projects and ideas I can’t always quickly respond. Here are some answers to questions I receive most frequently.
How did you get started?
I began as an undergrad: I originally went to school for ceramics, but realized early on that I was interested in everything. I studied, glass, painting, performance, sound and by the end I had a dual major in ceramics and print media. I wasn't making traditional print or ceramic work at that point. Instead I would create large digital prints and using a series of cut scores and creases create large scale pop up spreads. I was making these 4 foot v-folds or strut fold pieces. I really had no idea what I was doing. I wanted the work to be interactive and for the image to relate to the folds. I loved the immediacy of paper as a medium. I also loved the geometry. Figuring out the pieces was like solving a puzzle. I understand things spatially; I have to see something to make sense of it. One of my faculty advisers, Anne Currier, started buying me pop-up books and I started dissecting them and figuring out how they worked. It took off from there.
What types of glues and paper do you use?
I use a lot of different papers in my work depending on the project. For my white pieces I use an acid free archival paper from Neenah paper. I use 100# text and 80# cover weights. For color work I like using Canson and Colorplan. I use PVA glue from Hollanders and needle point dispensers (#63297) from Rockler.
What types of software/ tools do you use?
I use everything- bone folders, #11 blades, creasing tools, Reverse Action Tweezers, Casselli Spatulas, Soft Crease Meteorites, AutoCAD R13 & AutoCAD 2004 a Graphtec FC2230-ex (Marge) and a Graphtec FC4200-50 (Maria) flatbed plotter cutter.
What about Parametric software?
I'm not interested in parametric software. Please stop emailing me about it.
No but for real, how the…?
It’s magic. Some magic is a trick; hold a card this way to palm it and it disappears. You practice and get good at the trick. Other magic is a long game; the needle does go through his hand, he buried a card and waited ten years. This is the long game.
You must be into math, Right?
I got an A in Geometry and then failed Algebra in high school. I never got past Algebra.
I want to commission a piece. How can we make that happen?
Send me an email here and we can figure out how to make it happen. You can see everything on hand in the studio here.
Ok, but what if I just want a little a gift for my first year anniversary?
Head to Eight Emperors. It’s all open edition pieces meant to be given as gifts.
I want to see your work in person.
I work with a number of galleries that you can go to and see things first hand. If you live in these areas reach out to them!
Duran Mashaal in Montreal, Dimmitt Contemporary in Houston, Method and Concept in Naples, Turner Carroll in Santa Fe, Tamarind Institute in Albuquerque, Heather Gaudio in Greenwich, Paradigm in Philadelphia, Galerie Goutal in Aix-en-Provence, Freeman Gallery in Sydney, Kostuik in Vancouver.
If I buy a piece, how can I protect it from damage?
Everything I make is created with acid free/ archival papers and glue. They will not yellow in the sun or fade over time. Their biggest enemy is dust and curious fingers. People always want to touch it! Most people frame their pieces using a deep shadowbox style frame. I can have pieces framed at my studio or you can bring the piece to your local custom framer. See past frames we’ve made here.
Tell me about your process.
My process is extremely varied from piece to piece. Often I start without a clear goal in mind, working within a series of limitations. For example on one piece I'll only use curved folds, or make my lines this length or that angle etc. Other times I begin with an idea for movement and try to achieve that shape or form somehow. Along the way something usually goes wrong and a mistake becomes more interesting than the original idea and I work with that instead. I'd say my starting point is curiosity; I have to make the work in order to understand it. If I can completely visualize my final result I have no reason to make it- I need to be surprised.
Can you show me how to make your art?
I cannot explain how I make my sculptures in a general sense- each one is different. I don't share my diagrams or cut patterns. I learned by taking things apart, doing things the “wrong way” and being curious. Getting something wrong is more important to learning than copying something perfectly.
Where can I learn more about this stuff?
I wrote a book, though its more of a “What if” than a “How to” Book.
There are a few great books- for pleated / folding systems, Paul Jackson's Folding Techniques for designers and Complete Pleats are both really nice.
For pop ups David A Carter has the Elements of Pop up.
I've used both for textbooks in class- students really enjoy them and they break things down fairly simply.
Watch the documentary "Between the Folds" by Vanessa Gould.
The Topkapi Scroll: Geometry and Ornament in Islamic Architecture by Gülru Necipoglu is now free to download. It is a long out of print book that is crucial for understanding pattern and ornament.
Eric Broug writes about Islamic geometric design in a succinct way.
39 Microlectures in Proximity of Performance by Matthew Goulish changed my life, perhaps it will change yours.
Do you teach workshops?
Sometimes I do. If I have a workshop coming up I will probably send a newsletter out first and then post it on my Facebook and Instagram. If you’d like to bring me to your school for a talk or workshop please contact me here.
Tell me about your Inspiration.
I find inspiration in just about everything; Solar cell design, protein misfolding, Islamic tile patterning, systematic drawing, architecture, biomimetics, music etc. I have a unique way of misunderstanding the world that helps me see things often overlooked.
People wise- I look to musicians, performers, writers, visual artists, producers, makers and thinkers… Brian Eno, Matthew Goulish and Lin Hixon, Simon McBurney, Christian Bök, Brian Blade, Mikhail Bongard, Lucas Pope, Chris Gethard, Annie Dillard, Kay Ryan, Mary Oliver, Martin Puryear, Annie Albers, El-P, Jóhann Jóhannsson, billy woods, Daniel Libeskind, Dondi White, Christina Cordova, Christian Marclay, Marian Bantjes, Tauba Auerbach, Ren Weschler, Ted Chiang, Buckminster Fuller, Anne Currier, George Hrycun, Nervous-System, Hanif Abdurraqib, Starlee Kine, CW&T, Charles and Ray Eames etc.
What is it like working with Scientists?
It's the best. Here's a ten minute talk I gave at the National Academy of Science.
When and where were you born?
July 14th 1980 in Norwalk Connecticut.
Where did you study?
I have a BFA from Alfred University (2002) and a masters from Cranbrook Academy of Art (2006).
Where are you now?
I’m in Ann Arbor Michigan probably folding paper in the studio.
What about upcoming shows or talks?
I love that people can see my work online but it's so much more alive in person. I'll post all upcoming shows and talks on my Facebook and Instagram. Or you can sign up for my infrequent newsletter THE FOLD. If you’d want me to be in your show please contact me here.
Where’s your book already?
It’s arrived. You can order it signed here.
Hey Matt, can I use your artwork on this thing I'm working on?
That really depends on what it is. Please email me the details (what you want, what it is for, when you need it, what is the budget) I promise to respond as soon as I can. Please do not ask to use my artwork in exchange for exposure. That's sad and I won't respond.
What does your art mean? How do you characterize your work?
Analyzation is the job of the viewer not the artist. The artist asks questions, I am not particularly interested in answers. Characterizing my works or explaining their uniqueness - this is your job. My pieces are made from folded paper inspired by multiple sources (this is the "what").
The "what" is not the important question. The important questions are how/ why?
I don't look at one specific thing and make a piece about it. My work is not didactic- I am not seeking to explain or present one specific idea in my pieces. I assume a viewer with limited knowledge of my work/ process / intent. I want the work to stand without written explanation.
I am 100% uninterested in classification. My work is not contained in predefined categories. It doesn't neatly fit under an umbrella.
On a philosophical note, I’m not entirely sure what is gained through labeling and defining art. Most artists work in a fluid not linear path and are omnivorous in terms of inspiration. I’m wary of artists that only look to people working in similar fields for inspiration. We need to get out more. The best work in my opinion is being done in the fringes, in the nebulous space between disciplines between science and art, between architecture and engineering, between science and math.
Whats your life advice or best advice for young artists?
I don't have any specific life advice. If I could go back to myself at 21 and tell myself something I probably wouldn't say anything but to keep going.
When I was young I applied to every show that would have me. I made artwork night and day and just tried to have people see my work. After 15 years of making art for literally no money or recognition I now am in a position where people want my work in shows or their homes and want to pay for it. Yay! I won! The financial support is nice (it allows me to make my work full time) but honestly the best part is I get to make more work. That’s all I want to do - be in the studio. Recognition and shows are nice but I’d rather get started on the next piece.
I tell my students to take time to develop what makes your work unique to you. How can you stand out so that "xxx" artist isn't brought up when you show pieces? That only comes with time and struggle in your own work.
Try to find someone doing what you want to do and hound them to take you as an intern and see what they do day to day. Doing art is a lot less glamorous than you might think.
Do you need an intern?
No, I’ve got Gabrielle.
I’m an Architect student doing this project where I have to design you a new ideal studio. What you do want it to look like?
Thanks for selecting me as your artist. I am honored.
My ideal studio has high ceilings and lots of light- which I think is most important. It needs several tables to work on, lots of storage, wall outlets everywhere and large walls to hang work from and a good sound system. I want neighbors who are fun to have around.
Can I post about you on my blog?
Go for it! Please include a link to mattshlian.com
Do you like Puzzles?
What do you listen to while you work?
Podcasts (TAL, PSA, Radiolab, Beautiful Anonymous, Object of Sound, Dead eyes etc), Audiobooks or music.
How do I pronounce Shlian?
Sh + line, one syllable.
Can I listen to you talk to Stuart Kestenbaum on a Podcast?
Yes you can. I can't believe you've read this far down and still want more. You might as well subscribe to my mailing list to know what’s going on with me. I send them infrequently and it will be a nice surprise when you get it because you will have forgotten by then and be like why did I sign up for this? then oh yeah paper.