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. I am drawn to the organic growth of rust, the softness of wood, the fragility of plaster, the absorption of reflected light, the pervasiveness of sound, and the cleanliness of code. By combing these practices, I create free standing sculptures, public art installations, and experiential systems.
I critique the darkness in our society, and through my work bring it into the light. I aim to subvert surveillance capitalism and deconstruct our notions of safety. My recent work examines gun violence in the United States, drone strikes abroad, and how humans search for meaning through interpersonal connections. I examine how cultural constructs propagate ideologies, power relations, and social biases. I am interested in the embodied experience an audience has with my work. My goal is to empower them to see the world through a new perspective.
To create these works I rely on a variety of data visualization techniques. I draw information from both real-time in-person interactions and live internet data streams. As such, I describe my work as post-participatory and post-digital. Computational media is intrinsic to our daily lives, and I see it more as an environment than a medium. Within this context I implement artistic methods to make tangible the hybrid relationship between technology, society, and culture.
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 Assistant 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.
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.
Salzberger Nachrichten, “Bitte Warten” Wird Zum Dauerzustand By Clemens Panagal, 11 March 2020, p. 8.
ePluribus: America, Using Art to Challenge Gun Violence in America
By Jeanette Lenoir, 7 june 2017
Phoenix New Times, The Best Art We Saw In Downtown Phoenix On First Friday, August 7
By Linn Trimble, 10 August 2015
Jackalope Ranch, 5 Cool Things We Saw at ARTELPHX Fall 2014 at The Clarendon
By Evie Carpenter, 29 September 2014
Wired Magazine, Table Fighting Is Exactly What It Sounds Like: Tables, Fighting
By Beth Carter, 30 May 2012
Phoenix New Times, Tempe has a Musical Meditative Space Rover
By Lenni Rosenblum, 14 February 2012
Phoenix New Times Jackalope Ranch, 100 Creatives #74 M. Mosher
By Amy Silverman, 29 June 2010
I would love to hear from you! Send an email to: matthew (at) mosher (dot) art
If you'd like to see my works-in-progress follow me on Instagram @wyldwander.
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