Venu Magazine Cover Article about ISEA 2012 in Albuquerque (page 50-54)
"Although a concert by Laurie Anderson was clearly the headliner, Miwa Matreyek's performance, Myth and Infrastructure was a highlight for many. Matreyek's work is an enchanting blend of animation and live performance; one of the few digital artists who is able to keep a strong element of human presence in her work."
Curating "Physical Theater" for Sundance's New Frontier, by Roya Rastegar
"Lorde’s theory of the erotic as “a measure between the beginnings of our sense of self and the chaos of our strongest feeling” resonates with how Matreyek articulates the distinction between the meaning made from her body’s performance and another’s body.
I am both me and anonymous. If I put someone else in my videos or as a performer, I feel like I have to deal with a lot more about that person’s gender, history, age, appearance, physical presence and movement … and that changes my work … my body is the most direct [route] from imagination to reality.
Bringing the specificity of one’s own body to bear on what and how one knows, the erotic is a crucial part of how Matreyek conceptualizes her artistic work and practice."
"Shadow and light commingle with wordless grace in "Ground to Cloud" and "Myth and Infrastructure," part of the Radar LA Festival. A juxtaposition of simple Expressionist techniques and highly sophisticated Postmodern animation, this double bill conveys an impressively hypnotic range of aesthetic frissons.
And "Myth and Infrastructure," in which multimedia artist Miwa Matreyek turns her silhouetted self into a virtual Mobius strip for a breathtaking array of variegated animation styles, is magical. The sheer breadth of the imagery — recurring skylines, miniature beings, self-lighting birthday cakes, unfolding seascapes, ad infinitum — amid ever-changing nimbuses, helixes and more, is unlike anything you've seen before. If this were a museum of contemporary art, Matreyek would merit a permanent wing. Avant-garde devotees should devour both pieces. — David C. Nichols"
