Artist in conversation: Matt Eley
“Most of the ideas on that initial page will mean nothing and go no further, but some speak to you - they resonate.”
Matt Eley is a seasoned graphic designer whose creative process begins with a blank sheet of paper and a pencil. Believing in the power of the 'hook', Matt seeks to engage audiences by capturing their attention before conveying his message. His creative process, albeit chaotic and random at times, is fueled by the purest form of creativity, often leading him down unexpected paths towards fresh solutions. Matt's work is about letting these initial 'sparks' of ideas take center stage, nurturing them into full-blown designs.
A graduate of UWE with a Bachelor of Arts Honours degree in graphic design, Matt's journey into the professional design world began when he was recruited by the Pentland Group from his degree show in 1994. He soon became an integral part of their then fledgling design team, working on some of the world's largest sports and leisure brands including Speedo, Ellesse, Lacoste, Berghaus, Kickers, Red or Dead, Mitre. His exceptional skills and talent led to his election to the Chartered Society of Designers at the young age of 23.
Matt's work, featured in Creative Review and honored with a Proctor & Stevenson Design Award, reflects his belief in the importance of the initial spark of an idea. He sees his paintings as capturing those truly raw creative moments, seemingly random but all somehow linked to something bigger. To him, some ideas resonate like hearing your name in a crowded room or seeing it written in a book - they break into your subconscious, offering a unique smile in the mind.
What initially inspired you to become an artist, and how did you develop your unique style?
My journey to the arts was surprisingly linear. I always loved to create, so I focused solely on that. Once my decision was made, the rest took care of itself. GCSE’s, A levels, Foundation Course, Degree course and then into industry for a couple of years, before setting up my own agency. My painting style is a conscious decision to be at the opposite end of the creative spectrum to my agency work. No Apple Macs, pantone books or ‘stakeholders’. I’ve always loved the initial part of a brief where you’re just getting your ideas and thoughts down on a page. That’s the key component I’ve brought across to my painting.
In terms of subject matter, what themes or motifs do you frequently explore in your work, and what draws you to these topics?
My subject matter has no boundaries whatsoever, which is why I like to balance that freedom with the constraint of a single colour and only two brushes.
How do you navigate the balance between self-destruction and re-creation as a way towards conscious Happiness?
My paintings don’t have to solve a problem, unlike my work as a designer where every piece of communication has a purpose and a desired outcome. I wouldn’t class the design process as ‘self-destructive’ but ultimately the constraints of working within corporate guidelines and within a committee does come at a creative cost. My paintings work in total contrast, unless commissioned, I paint whatever I want, whenever I want. If somebody identifies with one of my paintings, and wants to hang it on their wall, that makes me very happy.
Can you discuss a specific piece or project that challenged you as an artist, and how you overcome those challenges?
I’m used to working within a team of creatives and working on my own has taken some getting used to.
How do you stay connected with other artists and keep up with new developments and trends in the art world?
I visit lots of shows and galleries and of course the internet has brought the world to the palm of your hand. I’m also revisiting skills that I learned nearly 30 years ago. I’ve just begun a silkscreen printing course and that’s as much about the people on the course as it is the mechanical process. I’ve also attended a few webinars on AI, so I enjoy looking both to the future and the past.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
I’ve stood in plenty of boardrooms presenting to clients who are only too happy to make suggestions and offer their constructive criticism. It’s part of any job, its just more accepted in the arts as it’s open to wider interpretation. You learn to pick your battles.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
I’ve never struggled with motivation, and inspiration is everywhere, you just need to tune into it. The world is a constant wonder.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I really love the “The Holy Art” ethos, whether it be online or physical space. I like to build long-term relationships in business and the team at THA are fantastic. I’m looking forward to seeing the other works on show and meeting the other artists and collectors.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I’ve had fantastic gallery representation from Driftwood Contemporary - their team just continue to impress me with their enthusiasm and knowledge. I should also mention The Drang Gallery in Burford who have been incredibly supportive. The internet is a fantastic tool, but artists still need physical spaces to exhibit their work, so I plan to partner with more galleries.
