Petra Mattes — Contemporary Art Curator Magazine

www.petra-mattes.com

Petra Mattes—a name that resonates with an ethos of fearless exploration—emerges as one of the defining figures in contemporary abstraction. Her body of work is a testament to a unique synthesis of gestural vigor and minimalist restraint, marking her as an artist capable of negotiating the tensions between disparate visual languages. Her place in the lineage of abstraction aligns her not with conformity but with a profound individuality, a dynamic presence in a tradition that spans from Malevich to Twombly. To situate her oeuvre within the broader context of contemporary art is to grapple with questions of temporality, materiality, and the boundaries of expression itself.

Born in Spaichingen, Germany, and embarking on her artistic journey relatively late in life at the age of 33, Mattes exemplifies the autodidact’s resilience and independence. Her academic training in law at the University of Tübingen adds an intriguing dimension to her creative pursuits, inflecting her works with a sense of rigorous structural discipline—one that harmonizes with her intuitive approach to abstraction.

From her first autodidactic experiments to her established international presence, Mattes’ career arc is marked by persistence and innovation. Her participation in the 58th, 59th, and 60th Venice Biennales, as well as her inclusion in the Atlante del Arte Contemporanea by Giunti, situates her as an artist of significant global stature.

Mattes’ works are immediately striking for their ability to unite polarities—a conceptual gesture that evokes the modernist tension between order and chaos. As Byron Coleman, the noted critic of Andy Warhol, observed in Gallery & Studio magazine, her work achieves an unparalleled synthesis of geometry and gesture. In one of her most evocative pieces, "Heart Beat" (2021, acrylic on canvas, 80 x 80 cm), the viewer is drawn into a visual rhythm that seems to pulse with its own life force. The monochromatic fields are punctuated by visceral, sweeping strokes, suggesting both vulnerability and resilience.

Her works like "Insecure" (2020, acrylic on canvas, 80 x 80 cm) and "Mind Blow" (2020, acrylic on canvas, 80 x 80 cm) exude a tension that feels both personal and universal. The muted palettes, intersected by bold marks, suggest a negotiation of interior states. In "Lost in Brazil" (2017, mixed media on canvas, 120 x 90 cm), Mattes explores a chromatic dynamism that contrasts her more subdued pieces, revealing an artist unafraid to pivot between tonal registers. Her ability to move fluidly across aesthetic terrains recalls the innovation of Cy Twombly, yet her voice remains distinctly her own.

Mattes’ philosophy—“Art has nothing to do with ideology, policy, religion, everyday life, society, context”—acts as both an anchor and a liberation. This declaration distances her from the expectations of didacticism, emphasizing instead a purity of form and experience. This refusal to tether her works to external frameworks places her within a lineage of abstract artists who prioritize the autonomy of the artwork. However, Mattes’ assertion also invites a paradox: while rejecting overt context, her paintings inevitably engage with the phenomenology of viewing, creating a dialogue that is intensely personal for each spectator.

Petra’s work "Let’s Talk About It" (2019, acrylic on canvas, 80 x 80 cm) exemplifies this duality. While the title suggests interpersonal engagement, the composition resists narrative clarity, instead offering an abstract interplay of color and form that demands the viewer’s active participation. This act of engagement is not only a hallmark of her practice but also a broader contribution to the discourse of abstraction—a reminder that meaning, like art, is not static but evolving.

In positioning Mattes within the history of abstraction, one might compare her to the German-American abstract expressionist Hans Hofmann. Both artists share a commitment to the exploration of form and color as dynamic forces, yet Mattes departs from Hofmann’s exuberant chromaticism to embrace a palette that is often more muted, contemplative, and introspective. Her work aligns more closely with the minimalist ethos of Agnes Martin, though it is infused with a gestural energy that defies easy categorization. In this synthesis of influences and departures, Mattes asserts her place as a bridge between past and present, between the monumental and the ephemeral.

In the contemporary art scene, Mattes occupies a critical position—both as an inheritor of abstraction’s rich legacy and as a pioneer charting new territories. Her works resist commodification, demanding instead to be experienced, contemplated, and felt. In an art market often preoccupied with spectacle and immediacy, Mattes’ deliberate and thoughtful approach offers a vital counterpoint.

Her inclusion in international exhibitions, such as the Venice Biennale, underscores her relevance and resonance within the global art community. Yet, her philosophical stance ensures that her work transcends the cycles of trends and fashions. As an artist who balances introspection with innovation, Mattes is a reminder of abstraction’s enduring capacity to provoke, inspire, and transform.

Mattes’ capacity to resonate across cultural and geographic boundaries underscores her role as a global artist. Each work is a portal—an opportunity for audiences to step into her abstract universe and bring their own perspectives. This interplay between artist and viewer is central to her practice. By creating open-ended narratives through abstraction, she provides a counterpoint to the increasingly didactic tendencies of the contemporary art world.

Her engagement with materials is also worth noting. Works like "Unintentional" (2021, acrylic on canvas, 80 x 80 cm) display a mastery over the fluidity of paint, balancing controlled strokes with spontaneous drips. This interplay of intention and chance reveals her process as a metaphor for human experience—a negotiation of control and unpredictability. Her use of acrylic, with its fast-drying properties, suggests a commitment to immediacy and decision-making, further emphasizing the dialogue between deliberation and intuition in her practice.

Petra Mattes’ art is not merely a visual experience but a philosophical journey—a meditation on form, gesture, and the spaces in between. Her unique ability to synthesize geometry and gesture, restraint and expression, places her firmly within the pantheon of contemporary abstraction. In a world where art is often pressured to explain itself, Mattes offers a practice that is unapologetically enigmatic, inviting viewers to discover their own meanings within her work.

In the words of Byron Coleman, her art “merges geometry and gesture quite so compellingly” that it demands to be seen as a new species of abstraction. Yet, it is more than that. It is a testament to the enduring power of painting to transcend, to connect, and ultimately, to endure. Mattes is not merely an artist; she is a steward of abstraction, and her place in the contemporary art scene is assured as both a visionary and a touchstone for generations to come.

Philosophically, Mattes’s work challenges the viewer to reconsider the role of abstraction in contemporary art. In a world saturated with imagery and information, her pieces invite pause and contemplation. They eschew overt narrative or symbolism, offering instead a space for reflection and interpretation. This universality, combined with her technical prowess, ensures her place not only in galleries and museums but also in the annals of art history.

Mattes’s artistic statement—that "art has nothing to do with ideology, policy, religion, everyday life, society, or context"—is both a rejection of and a challenge to contemporary trends. In an era where art is often burdened with sociopolitical commentary, her work stands apart as an oasis of purity. It recalls the ethos of modernist pioneers like Kazimir Malevich, who sought to strip art of extraneous meaning to reveal its essence.

Yet, to label Mattes as a pure modernist would be to oversimplify her achievements. Her works, with their layers of texture, color, and gesture, are deeply rooted in the present. They speak to the complexities of contemporary existence—its chaos, beauty, and ambiguity—while remaining untethered to specific cultural or temporal contexts. This timeless quality is perhaps her greatest strength, allowing her work to resonate across diverse audiences and generations.

Petra Mattes is a trailblazer in contemporary abstraction. Her unique synthesis of minimalist and gestural approaches, combined with her philosophical rigor, sets her apart in the art world. Whether through the pulsating energy of "Heartbeat," the contemplative spaces of "Insecure," or the vibrant dissonance of "Lost in Brazil," Mattes offers a body of work that is as challenging as it is rewarding. Her place in the art scene—as both a critical and commercial success—is well-earned, and her influence is poised to endure. Petra Mattes is not just an artist; she is a philosopher of form, a poet of paint, and a beacon for the possibilities of abstraction in the 21st century.

By Marta Puig

Editor Contemporary Art Curator Magazine