Only one word can be used to describe the Blanton Museum on Friday night: swanky. Feeling a little young and out of place, I amble over to a table, surveying the room. A band playing in a corner sets the mood, a chef prepares hors d’oeuvres, and sparkling water and wine are proffered by clean-cut waiters with polished silver trays. As I devour another chocolate truffle, I think to myself, “I could get used to this exhibition-opening business.”
This particular opening was for the Blanton’s “Francisco Matto: The Modern and the Mythic” exhibition. The Blanton has the distinction of housing the first comprehensive exhibition of Matto’s work in the United States. Born in 1911 and hailing from Montevideo, Uruguay, Matto was especially interested in modern art coupled with the traditions of ancient America. As a result, his work carries within it an array of symbols and inspiration from pre-Columbian culture. Tearing myself away from the fried yucca balls, I finally entered the exhibit, excited to see if Matto’s work could live up to my expectations of blending modern with ancient. His work does not disappoint.
It was refreshing to see Matto’s use of so many media, from wood to cardboard to canvas. If I was pressed to choose a favorite, I would say that his woodwork pieces are not to be missed. From far away, the pieces look perfect, but as you draw near to them, you begin to see all of the imperfections in the wood, all of the nicks and scratches they bear. They are far from sleek and modern, and I love them for it. The wood itself looks naked, with no stain or polish and a sparse amount of oil, which lends the work a very natural and spiritual air.
Of course, not every piece of art can be a favorite. Matto is famous for his “totems,” and as a group they are spectacular, but if I saw one by itself in an art gallery, I would be left scratching my head. And his still-life paintings did absolutely nothing for me. There were also the obligatory my-six-year-old-cousin-could-draw-that paintings, but you quickly forget about those once you move on and see some of his other works.
Matto was a man of many talents; moving from totems to cityscapes with buses to simple, geometric lines in one fluid motion. The colors of his paintings are striking and bold, and words can do them no justice. If you need something other than mere aesthetic beauty to fulfill your lust for art, make sure to pay close attention to Matto’s paintings. Hidden words and symbols can be found throughout, and I at least feel a sense of elitist accomplishment when I can point out something to a friend that they would have normally overlooked.
There is a certain lingering power to Matto’s work that remained with me even after I exited the doors of the Blanton, and his work is so diverse and detailed that I could easily spend another night there discovering new symbols and meanings. I left feeling ancient yet current, enthralled with buses as well as totems. “The Modern and the Mythic” is an altogether fulfilling exhibit that shouldn’t be missed.
“Francisco Matto: The Modern and the Mythic” will be exhibited at the Blanton until Sept. 27.
