Post-identity artist Matthew Angelo Harrison discusses how growing up with the “wrong history” and “books from a half-assed history class” inspired his practice, the significance of distance in his work, and how approaching identity from an objective perspective transcends the physical self. Also, ICA Miami asks: “What’s the significance of the bones in the corner of the studio?”
In 2017, ICA Miami commissioned new work from Harrison as part of its inaugural exhibition, “The Everywhere Studio.” The work, BKGD: BROUWN (2017), meditates on the legacy of Black Conceptual artist Stanley Brouwn, and considers the possibilities for work without a studio or access to traditional art-making objects.
Over the past three years, Matthew Angelo Harrison (b. 1989, Detroit) has employed a 3-D printer to produce clay objects, frequently scanning and altering them in order to draw out their relationship to cultural identity and power. Exploring the potential for new technologies to radically alter modes of working and culture at large, Harrison highlights the role of the worker, and his or her identity within capitalism. Until recently Harrison worked as a clay modeler in the design studios at Ford in Detroit, an experience that informs his interest in the fraught ways in which race, economy, and technology collide in today’s spaces of innovation.