MATTHEW MOSHER

intermedia artist

ARTIST STATEMENT

My transmedia work in sculpture and electronic art is concept driven. I choose materials and processes that best support the idea at hand. These include programming, physical computing, 3D printing, casting, welding, and woodworking. By combining these traditional and contemporary practices, I create free standing sculptures, immersive installations, and experiential systems.

I am drawn to the organic growth of rust, the warmth of wood, the fragility of plaster, the reflection of light, the pervasiveness of sound, and the cleanliness of code. My recent work in generative forms is a collaboration with computing machinery. I am enticed by algorithmic art due to the immediacy of iteration. I use mathematical formula to produce multiple forms and selectively refine them into finished works that address materiality, repetition, and scale. Computational media is intrinsic to our daily lives, and through blending these various techniques and modalities my work is decidedly post-digital.

I use chance operations and current events to fuel my design process. These systems connect directly to ancient divination techniques, which have a long history in the visual and performing arts. I see these systems as tools, like art, that humans use to bring understanding and meaning to our lives. Through this lens I examine how cultural constructs propagate ideologies, power relations, and social biases. My recent work examines gun violence in the United States, drone strikes abroad, and the success of American Capitalism. This process uses a variety of data visualization techniques, drawing information from both real-time in-person interactions and live internet data streams. Within this context I implement artistic methods to make tangible the hybrid relationship between technology, society, and culture. In doing so my work empowers people to see the world through a new perspective.

BIOGRAPHY - 350 words

Mosher Headshot

Boston native Matthew Mosher is an intermedia artist, research professor, and Fulbright Scholar who creates embodied experiential systems. His work explores the intersections of fine art, computer programming, and critical making resulting in immersive installations, interactive sculptures, post-participatory data visualizations, and dynamic performances. Mosher applies creative conduits between digital technology and material forms to highlight our complex relationships with machines and each other. His projects have engaged themes of meditation, gun violence, digital isolation, and tangible memory. Doing so empowers participants in his work to see the world from a new perspective while reexamine their role in society.

Mosher is currently an Associate Professor of Games and Interactive Media at the University of central Florida. His pedagogy centers on the use of interaction design as a medium for critical inquiry and cultural innovation. He teaches a range of course from large undergraduate foundational lectures to small graduate studio seminars covering design topics of user interface, user experience, experimental multimedia systems, and physical computing, as well as the history and theory of New Media. To serve the larger arts community he sits on the College Arts Association professional practice committee, writing standards and guidelines used around the world. He also cofounded the Phoenix, Arizona based [nueBOX] performance arts residency program in 2014, which has provided studio space to over 75 artists.

Mosher received his BFA in Furniture Design from the Rhode Island School of Design in 2006 and his MFA in Intermedia from Arizona State University in 2012. In his more than 15 years working as an intermedia artist Mosher has exhibited at numerous international venues for contemporary art, including the International Symposium for Electronic Art and the Electronic Literature Organization. His research is published in the Association for Computing Machinery Computer-Human Interaction, Tangible Embodied Interaction, and New Interfaces for Musical Expression conference proceedings, and reviewed in Wired and Interactions magazines. In 2010 the Phoenix New Times included him as one of the top 100 creatives to watch, and in 2019 he completed a Fulbright Scholar Fellowship in Austria on preserving memories in physical mementos.

BIOGRAPHY - 200 words

Boston native Matthew Mosher is an intermedia artist, research professor, and Fulbright Scholar who creates embodied experiential systems. His work explores the intersections of fine art, computer programming, and critical making resulting in immersive installations, interactive sculptures, post-participatory data visualizations, and dynamic performances. His projects have engaged themes of meditation, gun violence, digital isolation, and tangible memory. Mosher creates conduits between digital technology and material forms to highlight our complex relationships with machines and each other. Doing so empowers participants in his work to see the world from a new perspective while reexamining their role in society.

Mosher is currently an Associate Professor of Games and Interactive Media at the University of Central Florida. He received his BFA in Furniture Design from the Rhode Island School of Design in 2006 and his MFA in Intermedia from Arizona State University in 2012. In his more than 15 years working as an intermedia artist Mosher has exhibited at numerous international venues for contemporary art, including the International Symposium for Electronic Art and the Electronic Literature Organization. His research is published in the Computer-Human Interaction, Tangible Embodied Interaction, and New Interfaces for Musical Expression conference proceedings, and reviewed in Wired and Interactions magazines.

BIOGRAPHY - 125 words

Boston native Matthew Mosher is an intermedia artist, associate professor, and Fulbright Scholar who creates embodied experiential systems. His work explores the intersections of fine art, computer programming, and critical making resulting in immersive installations, interactive sculptures, post-participatory data visualizations, and dynamic performances. His projects have engaged themes of meditation, gun violence, digital isolation, and tangible memory. Mosher creates conduits between digital technology and material forms to highlight our complex relationships with machines and each other. Doing so empowers participants in his work to see the world from a new perspective while reexamining their role in society. He received his BFA in Furniture Design from the Rhode Island School of Design in 2006 and his MFA in Intermedia from Arizona State University in 2012.

But how did I get here?

My background is in Furniture, Jewelry, and Performance Design. These forms are inherently interactive due to their intimacy with the human body. Towards the end of my undergraduate studies, I started experimenting with computational media to add a conversational responsiveness to my work. I have been blending coding with physical forms ever since.

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EVENTS

SELECTED PUBLICATIONS

Matthew Mosher. 2022. Khong Khro: Visual biofeedback for focus meditations. In Creativity and Cognition (C&C '22). Association for Computing Machinery, New York, NY, USA, 570–574.

Marius Schebella, Gertrud Fischbacher, and Matthew Mosher. 2020. Silver: A Wire Mesh Textile Interface for the Interactive Sound Installation Idiosynkrasia. In Proceedings of the Conference on New Interfaces for Musical Expression (NIME ’20). NIME, Birmingham, United Kingdom, 131-132.

Cameron Tolentino and Matthew Mosher. 2020. Kurios: A Web App for Saving and Sharing Audio Memories with Physical Objects. In Proceedings of ACM Hypertext Conference (HT’20). ACM, New York, NY, USA, 2 pages.

Matthew Mosher. 2020. Pythia Consulting: Asking Difficult Questions While on Hold. In Proceedings of the Conference on Computation, Communication, Aesthetics, and X (xCoAx ’20). xCoAx, Gratz, Austria, 358-360.

Matthew Mosher, Danielle Wood, and Tony Obr. 2018. Tributaries of Our Distant Palpability. In Proceedings of the Conference on New Interfaces for Musical Expression (NIME ’18). NIME, Blacksburg, VA, 360-361.

Matthew Mosher. 2017. If These Walls Could Speak: Tangible Memories. In Proceedings of the 12th International Audio Mostly Conference on Augmented and Participatory Sound and Music Experiences (AM '17). ACM, New York, NY, USA, Article 13, 4 pages.

Matthew Mosher. 2016. What We Have Lost/What We Have Gained: Embodied Interfaces for Live Performance and Art Exhibitions. In Proceedings of the 2016 CHI Conference Extended Abstracts on Human Factors in Computing Systems (CHI EA '16). ACM, New York, NY, USA, 289-292.

Matthew Mosher and David Tinapple. 2016. What We Have Lost / What We Have Gained: Tangible Interactions Between Physical and Digital Bodies. In Proceedings of the TEI '16: Tenth International Conference on Tangible, Embedded, and Embodied Interaction (TEI '16). ACM, New York, NY, USA, 658-662.

Mike Krzyzaniak et all. 2014. Separation: Short Range Repulsion. In Proceedings of the Conference on New Interfaces for Musical Expression (NIME ’14). NIME, London, UK, 303-306.

SELECTED PRESS

Christina Steinböck. 2021. Schmiede Radio Kunst und Dichtung. RadioFabrik (15 September 2021).

Thomas Fuchs. 2021. Hallein ist wieder reif für die Ynsel. Meinbezirk (10 September 2021).

Clemens Panagal. 2021. Kabarettfestival Motzart: Bitte warten, bis sich das Orakel meldet. Salzberger Nachrichten (28 January 2021).

Grace Newton. 2021. Platform Art Working with Builders to Add Public Art. lkldnow (22 April 2021).

Julia Tilford. 2020. The Healing Nature of Art. Orlando Arts Magazine (July/August 2020), p.8-9.

Clemens Panagal. 2020. “Bitte Warten” Wird Zum Dauerzustand. Salzberger Nachrichten (11 March 2020), p. 8.

Jeanette Lenoir. 2017. Using Art To Challenge Gun Violence In America. ePluribus: America (7 June 2017).

Beth Carter. 2012. Table Fighting Is Exactly What It Sounds Like: Tables, Fighting. Wired Magazine (30 May 2012).

Lenni Rosenblum. 2012. Tempe has a Musical Meditative Space Rover. Phoenix New Times (14 February 2012).