My Current works “Ruins From The Future” are strongly influenced by my contemporary surrounds and earlier thinkers like Huxley or Orwell. A critical mirror to hold while I observe the signs of society’s technological “advancement” and some times it’s negative implications.

 

I have been using materials such as technology’s “waste materials” - insulating and packaging foams - as moulds to build works, that are a composition of digital forms. The outcome is bleak, “robotic symmetry” with some irony...

 

These works are highlighting a new aesthetic and visual language that I believe has progressed since the advancement of technology after the laste 19th century.

 

The irony is that while they look futuristic, there is a mysterious connection to some very early civilisations, like the Mayans or Incas.

 

 - Sandor Matos

Education

 

2000-02       Post-Graduate Diploma (Public Art)

                    RMIT University, Melbourne.

 

1986-87       Masters of Arts (Sculpture & Sculpture Restoration).

 

                    Hungarian Academy of Fine Arts, Budapest.

 

1981-85       Bachelor of Arts (Sculpture)

                    Hungarian Academy of Fine Arts, Budapest.

 

 

 

Select Solo Exhibitions

 

2011-13       Ruins of The Future / INQUBATOR / Melbourne.

 

2007-10       Ruins from The Future / Warburton Lane Exhibits / Melbourne.

 

2004-07       Developing new works, and commissions.

 

2003            Dystopia / Sahara Project Gallery / Melbourne.

 

2001            Trance-formed /Artefact Gallery / Melbourne.

 

1999            Depth of Distance / Hungarian National Gallery / Budapest.

 

1997            Greenaway Art Gallery / Adelaide.

 

1995            Greenaway Art Gallery / Adelaide.

 

1993            Pantheon / 5.th Sculpture Triennal / A.R.T. Gallery

                    Melbourne.

 

1992            Stuart Gerstman Galleries / Melbourne.

 

1987            Hungarian Cultural Centre / Collegium Hungaricum

                    Vienna, Austria.

 

 

 

Select Group Exhibitions

 

2016            20 July

 

2015            Shared Experience / INQUBATOR / Melbourne

 

2007            Ruins from The Future with in You I See / Gallery Ascender

                    Sydney.

 

.2001           3D. Extravaganza / Gamma Space / Melbourne.

 

1999            Diaphanous /Nokia Singapore Arts 99” / Caldwell House

                    Gallery Chijmes , Singapore.

 

1998             Discrate Projects / Arts 21 / Arts Victoria / Melbourne.

 

1994-95       Quo Quo / Artefact gallery / Hong Kong.

 

1994            Victoria House /Artafact Gallery / London.

 

1992            Third contemporary Art fair / Melbourne.

 

 

 

Grants & Aw

 

2002            City of Melbourne : Project Grant.

 

                    Distopia / Sahara Project Gallery / Melbourne.

 

1999            Arts Victoria / Visual Arts Grant.

 

                    Dept of Distance / Hungarian National Gallery / Budapest,

                    Hungary.

 

1999            Arts Victoria: Visual Arts Grant .

 

                    Diaphanous / Nokia Singapore Arts 99” / Caldwell House,

 

                    Gallery Chijmes, Singapore.

 

 

 

Commissions & Collections

 

493 ST. Kilda Rd. / Hankell Family /Melbourne.

 

Albacom / Yamaha / Hungary.

 

Australian Embassy, Hungary.

 

BASF. Hong Kong.

 

Budapest Hilton, Hungary.

 

Cinetrip <IMF> Interspace Magic Factory, Hungary.

 

“Lissys” Stage Design, Hungary.

 

Vigado, State Gallery, Budapest, Hungary.

 

“Wulcascott”, Vienna, Austria.

 

Public Commissions in Hungary from1978- 1989.

 

Private Collections in Australia, Hong Kong, Hungary, Austria, U.S.A & Singapore.

 

 

Hungarian born artist Sandor Matos draws on the dehumanised, technology-driven world portrayed in classics such as Brave New World (Aldous Huxley) and Nineteen eighty-Four (George Orwell), as his inspiration for his latest collection of sculptures; Ruins From The Future. Like Huxley and Orwell, Matos is strongly influenced by his surroundings. He observes the signs of society's scientific and technological "advancement" and attempts to convey it's negative implications, particularly for the natural environment.

Matos' art works are derived from of the 21st century society's most ubiquitous forms of discarded waste - polystyrene packaging. He uses this detritus as molds for his sandstone sculptures. The result is a unique collection of stark, utalitarian forms whose curves and angles are intriguingly evocative of the stone statues hewn by the ancient Inca and Maya civilisations. In doing so, Matos poses the question: is our consumption-based, materialist society following these lost civilisations into extinction?

 

- Julian Wilson