Fifteen years and one day after Andy Warhol’s queer muse, Fred Herko took a flying grand jete from the fifth floor of a New York apartment building, in what can only be described as the ultimate last dance; Matthew van Roden was born. Raised by a working class family who knew not the strange creature who had landed with a similar SPLAT into their lives, he was taught the ways of a terrifying and charismatic God. The young Matthew strove to transform his very nature into the image of the Divine, a quest that lingers in his blood to this day, swilling with gin and glitter and emanating a stench that is simultaneously repugnant and irresistible. Something you can’t hate, but you can’t love; something in-between.
In a daring daylight escape he fled his hometown to London where he studied philosophy, played in a punk-rock band and developed the beginnings of what would become a decidedly queer artistic practice.
Now having returned, 'like a dog to its vomit' he spends his time pushing the creative limits of wax, text and flesh and fetishising the printing press. Film is a new foray for this queer artist, and it’s been somewhat of a liberating revelation.
“The freedom to experiment is very different from ‘being’ experimental. The primacy of being within my practice, the teasing out of its multiple possibilities and expressions, foregrounds my dalliance with any medium. Video, particularly grants access to creative outputs that shift through time; that form their meaning precisely through that shifting. It strikes me as at least peculiar, if not queer, that I can inhabit that process of meaning through change; my digital body on the threshold of the unknown.”