Matti Wim Havens is multi-media visual artist, whose work, is both conceptually fun and humorous, as well as aesthetically driven. Havens uses geometric patterns and other elements of design to draw the viewer in, so that they may contemplate the various societal, political, cultural and environmental issues, alluded to therein. Amongst other topics, his work has addressed current issues, including immigration, cultural hybridization, government use of torture techniques, and more recently, the ideology of President Trump. He also frequently collaborates with other artists in various media in order to broaden the scope of possibilities and address issues he may not be able to address alone.
The beauty of repeated geometric form is a motif that has played a central role in Havens’ work. Sculptural, as well as two-dimensional compositions, play with line and shape to suggest larger spaces, both natural and manmade. The accumulation of layers of shapes, textures and colors also give the work a more physical presence.
Time - 2021, mosaic, 100 cm x 121 cm
Based on a graffiti design by Greg (aka Timer).
This project is a synthesis of two techniques. Mosaics are made for eternity; think of Pompei, Ravenna and other ancient mosaics. On the other hand, graffiti’s design is characterized by the speed and spontaneity of its creation. By translating this design into mosaic, a graffiti design has durability and a unique style.
We zijn er bijna - 2020, A0 poster This piece was included as part of Publieke Werken Rotterdam. Publieke Werken is een buitenexpo door heel de stad met werk van ruim 400 beeldend kunstenaars, vormgevers, fotografen, beeldmakers en illustratoren. Simpelweg om de leegte die was ontstaan te vullen en om te laten zien dat verbeelding fijner is dan reclame.
one - 2007, ink on paper, wooden frame, hardware, dimensions variable I took the word "one" and found its synonyms from the Encarta World English Thesaurus. I then found the synonyms for those four words and continued the exponentially growing process of finding synonyms until I had five generations of words with approximately 1300 words total. In addition, I presented a history of the written word "one," as it develops through calligraphy, typewritten text to handwritten post-it notes. The synonyms literally evolve through each generation as they are presented down the wall.
The words are written, printed and typed from the top of the wall to the bottom in the following media. The first row is the word "one" hand written in calligraphy, the second row has four words printed using a printing press, the third row is typed with a typewriter, the fourth row is typed with a computer and the last row is hand written on post-it notes. Calligraphy was a beautiful and time consuming process, the privilege of an elite, educated few. Each subsequent generation of text presented on the wall took less time and energy to produce, allowing for the faster circulation of ideas. The exception is the post-it notes, which return to the process of hand written text.
Lovelace’s Tribute - 2018, cabinet, electronics, computer, headphones, 20" x 34" x 28" (51cm x 86cm x 71cm) This collaborative project with Gregory Kramer was done in ODETTA gallery as part of Creative Tech Week.
This installation is in honor of Ada Lovelace, generally recognized as the first computer programmer. Lovelace was the daughter of famed poet Lord Byron and had a deep fondness for him and his work.
Each drawer of the installation, when opened, sings part of a famous poem by Lord Byron, and corresponds to an ascending Solfege scale. The drawers of the cabinet will function as simple binary on/off switches mimicking the basic binary function of computer code. The participant can try to figure out the correct order the drawers need to be pulled out so the poem is recited correctly.
Ada Lovelace understood the potential of technology as a creative tool as evidenced by the following quote:
"Supposing, for instance, that the fundamental relations of pitched sounds in the science of harmony and musical composition were susceptible of such expression and adaptations, the engine might compose elaborate and scientific pieces of music of any degree of complexity or extent."
Returnable #1 (Arches National Monument) - 2016, 14 laundry drying racks, 2m x 2m x 2m The Returnables is a multifaceted project consisting of pieces made of items that will be returned to the stores from which they will be purchased. Doing so addresses two intersecting concepts. First and most pressingly, the consumer culture in which we live, and the subsequent effects on the environment that such consumption entails. Secondly, it takes advantage of the stores’ return policies, undermining their main goal, profitability.
The mixed media works presented will be made of objects purchased from stores and combined in ways that use their inherent design elements to make surprising and playful static and mobile mixed media artworks and sculptures. After using the objects for display in the gallery they will be returned to the stores where they were purchased for a full refund.
You Are Here - 2007, Mixed media, 15’ x 6’ x 6’ and 4’6” x 3’ x 2’ This sculpture places the viewer and his/her precise location at the center of the world. Measurement, direction and location are all equally important in that the
slightest change in any of these would alter the piece drastically. It makes the
viewer aware of the cardinal directions, distance and location and encourages
mental traveling to places both near and far. The piece references road signs
and directional arrows indicating mileages to certain places. By highlighting
places near and far away and obscure it parodies informational boards/maps
located in many places to aid tourists.
Stellar Spectrum - 2019, screen print on paper, 22" x 39" (56 cm x 99 cm)
RGB - 2006, metal, vellum, wood, paint, glue, video projectors, DVD players, 8' x 6' x 5'
I used three projectors and three screens installed in a triangular formation. They are divided into alternating one-inch wide strips allowing for the projected imagery to be combined in an abstract but still distinguishable manner. Each screen has a different color projected on it with Red, Green, and Blue (RGB) corresponding to video imagery of Fire, Water and Sky. In making the piece triangular and suspended, it permitted the viewer to enter the work and become immersed in the meditative imagery. The triangular framework and altered screens makes for three levels of viewing; the interior of the triangular screen formation, it's exterior and also the walls of the surrounding space.
Hexagon - 2019, screen print on canvas, 33" x 33" (84 cm x 84 cm)
Tetrahedrons - 2009, wood and nails, 13 m x 3 m x 6 m
An installation made of 500 meters of wood that aggressively filled the space with two sizes of tetrahedrons. These tetrahedrons were placed on each other and the architecture to create a traversable and complex environment. Viewers were allowed to navigate their way through the piece and ascend the stairs to the balcony to view the piece from above.
