Featured Artist Matt Kaplinsky applies his love of biology and the environment to the concepts he works out on canvas.

Beneath the surface of Kaplinsky's compositions lie subtle commentaries on social and economic dynamics, often paying homage to his favorite artists. Drawing inspiration from both the rawness of nature and the innovation of mid-twentieth-century contemporary artists, his works are a captivating blend of the organic and the modern.

"My current work explores a style that might be described as 'folksy impressionism'. Photos I take on my travels serve as inspiration; their cropped views transform remembered images, allowing me to reinvent them," the artist explains.

Using impressionism, Matt Kaplinsky's colorful paintings on canvas convey a feeling about viewing a space—whether seen up close, as a still-life subject, or experienced as a broad vista of landscape. 

Artwork Archive had the chance to chat with Matt Kaplinsky about his creative process, advice he has for emerging artists, and how Artwork Archive makes his art career more manageable! 

You can see more of his work on Discovery and learn more about his art practice below. 

Matt Kaplinsky, 'La Piedad de las Flores', 72 x 60 x 2 in

Do you have a favorite or most satisfying part of your process? If so, can you share a bit about it?

For me, there are several aspects of painting that are satisfying, but having to choose my favorite would be the feeling when I'm "kinda done" and applying the last few brush strokes. 

This is because about halfway through the work it tends to capsize and get a little too rough. 

It's at that point when I get a little scared that it would be garbage or turn out too far from what I wanted. 

But if the work persists, it typically corrects itself and continues progressing toward completion, bringing me a sense of relief and satisfaction.

You’ve been painting since 1991. How has your artistic style evolved over the years, and what inspired you to pursue the “folksy impressionism” style you use to characterize your current work?

My start was in exploring abstraction—and more specifically, the expressive movement or action within the process. 

Over time, my realization was that my appreciation was for the mark, drop, or other indication that my hand was there—a moment captured in time—and now you can be there too. 

Each brush stroke is like a little tiny time machine for the observant viewer, which is what runs through my mind when viewing works by Berthe Morisot, Claude Monet, Vincent Van Gogh, and other impressionists. 

It brings me joy to see what they saw and, in turn, I hope to pass that along to those seeing what I see too. Folk art is often a reference for me because it addresses everyday things and is not necessarily a contemporary hot topic or social view. 

For me, a chair, a vase of flowers, or a fire hydrant can be as important as social justice or governance. Also, abstraction has generally become oversaturated with artists whose work is shallow and banal (with some exceptions of course), all technique without the chops to pull it off, which is a big turn-off for me.

Matt Kaplinsky, 'Venue with Eggs', 48 x 36 x 2 in

You mention reinventing remembered images through cropped views—can you elaborate on that?

Good question. Simply put, cropping the images removes distraction from the subject. If I'm looking at a cluster of flowers in a garden, I don't want the viewer to think too much of the trees nearby or the house in the distance, just focus on the flowers like I did. The rest is just filler. 

This way, the cluster of flowers is not a supporting actor or an extra in the play but transformed into the lead actor in center stage with a very different role—sometimes with an extra wilted bloom, broken seeds and stems, or one flower out of sorts from the rest.
 

How do you choose and use colors to evoke specific emotions or moods in your work?

Wow. You got me there! 

I just look at my tubes of paints and pick the one or combination that seems to fit where my mind is and go with it.
 

What does success as an artist mean to you?

Success, to me, means having everything that I currently possess.

I have almost everything I want. Sure, I could be more successful and have the same studio on the same piece of land as my home (ideally on a farm somewhere), rather than three minutes away, but that seems like just splitting hairs.  

It would be cool if my work was a hot collectible for museums, but I don't really care about that. Getting media coverage like Banksy would make me very uncomfortable, so that's not for me.

There is just so much "fame and fortune" out there today that makes me think: Who really cares?  My family and friends and great food matter more to me. 

Being able to afford to take a pal out for dinner somewhere delicious a couple of times a year is enough for me to feel 'successful'. I have even sold a couple of paintings to famous people but would not care to share about that—it means nothing in the big picture (pardon the pun).

Matt Kaplinsky, Traces in Tradition, 48 x 36 x 1.5 in

What impact do you hope your artwork will have on viewers?

I hope that viewers will stop and think for a moment (about anything), whether it's a clump of flowers, a color scheme, or anything else they might be reminded of. 

Engage the brain, and do not be a mindless drone.

 

Could you provide some insights into your creative workspace? How does your physical environment contribute to your artistic process? 

When I started painting, I lived in a 450-square-foot apartment that I had lined with plastic and old blankets to protect it from paint splatter. It only had a bed, a stove, a tiny bathroom, and art supplies.

Now, my studio is a 2000-square-foot warehouse space that I divided into two halves. One half is designated for 'messy tasks,' such as crafting frames for my paintings or experimenting with woodworking, plastering, welding, and such.

The other half is divided into three parts: a storage room with racks for artwork and blank canvases, a furnished "front room" so I can look at my work hanging on a wall or meet with people as necessary—or just sit on a couch, look at something I've been working on, and try to figure out what's wrong with it. 

Then there is the room where all the action is. This space has no windows so there is no distraction or interference from the outside world, and time stands still. 

I can paint with the exact same consistent quality of light all day long and bounce from one canvas to another as I see fit. Everything I need is here. 

Matt Kaplinsky, 'Potted Pansies', 30 x 40 x 2 in

Why did you decide to use Artwork Archive to inventory/manage your artwork? How do you use Artwork Archive on a daily basis?

I love Artwork Archive because I've tried pretty much everything else, all of which I hated equally due to different reasons. Some were too difficult to use, others required too much data entry, and had other limitations. 

I started off thinking it would be just another thing to try, another disappointment to deal with if it didn't work out. But the more I used it, the more I realized how versatile and useful it actually is.

It's VERY useful for personally keeping tabs on what you've done and when. You can track the time you invested in a piece versus what it eventually sold for. But the most important part, at least for me, is being able to share Private Rooms with gallerists and generate various Reports in no time. I can generate reports so quickly and easily that it can all be done from my smartphone—no need to lug around a laptop and/or mobile printer.

Clients and galleries can communicate with me regarding various images. If they need the original hi-res image for publications, I can offer that in a snap without the need to search my hard drive or resort to other means such as online files systems, Dropbox, or otherwise.

 

What advice would you give an emerging artist during this time?

Dear emerging artist: Make lots of work.

It bears repeating: Make lots of work. 

No matter what jobs you have or not, whatever else is going on, just keep being productive. 

DO NOT wait for inspiration—it will come to you if you just get started.

Worry less about yourself and looking the part and put all that energy into making work. 

The more you make, the more likely you are to "make it."

 

Matt Kaplinsky, 'Black Irises', 36 x 36 x 2 in

 

Matt Kaplinsky uses Artwork Archive to present his work professionally and organize his entire art career.

You can make an online portfolio, catalog your artwork, and generate reports like inventory reports, tear sheets, and invoices in seconds with Artwork Archive. Take a look at Artwork Archive's free trial and start growing your art business.