Charles Matson Lume

01_CharlesMatsonLume 02_CharlesMatsonLume 03_CharlesMatsonLume 04_CharlesMatsonLume 05_CharlesMatsonLume

Work1 Title: Partial installation view of: whatever returns from oblivion (for Louise Glück) Year: 2014 Materials: reflective paper, duct tape, reflective tape, hologram stickers Dimensions: H 11′ W 19′ D 100′
Work2 Title: Partial gallery view of: The limits of knowledge (for William Bronk) Year: 2016 Materials: proofing paper, stickers, balloons, helium, balloon ribbon, stake markers, book Dimensions: H 18′ W 29′ D 40′
Work3 Title: of air, once, analogous (for Gustaf Sobin) Year: 2012 Materials: proofing paper, tempera paint, straws, straws with parasols Dimensions: H 12′ W 16′ D 42′
Work4 Title: The birth of Venus (for Muriel Rukeyser) Year: 2016 Materials: acetate, cellophane, plastic Dimensions: H 8′ W 6′ D 4′
Work5 Title: The world’s an untranslatable language II (for Charles Wright) Year: 2013 Materials: reflective paper, rolls of “No Trespassing” tape, rolls of “Do Not Enter” tape, duct tape, tape Dimensions: H 12′ W 25′ D 6′


My art examines manufactured materials such as proofing paper, shrink-wrap, or acetate, and considers them through different lenses such as: desire, ephemera, literature, or epistemology. Moreover, through an object’s interaction with light, I try to tease out new meanings. Light is seemingly capable of releasing a kind of secret, unforeseen knowledge or pleasure from the ordinary. Sometimes the material’s transformation comes about through quantity, while at other time it is manifest through the placement or pattern created on a wall, floor and/or ceiling. The intersection of light, architecture, and object(s) create reflected light patterns in a space that often seem so improbable as to be false. The physics involved can be incomprehensible, untrue or disorienting. Many viewers feel compelled to block the light or touch the installation, which may destroy it, in order to begin to understand how light is interaction with the materials and space. This desire to know at the cost of something else seems to be an inherent, and necessary, part of the human condition as old as Adam & Even are to the apple.

Whatever the world may be, it’s not what we think we think it is. —William Bronk

Forthcoming, North Park College, Chicago, IL, 2017
Forthcoming, Bloomington Art Center, Bloomington, MN, 2017
Forthcoming, Moraine Valley Community College, Palos Hills, IL, 2016
Grand Marais Art Colony, Grand Marais, MN 2016
Prescott College, Prescott, AZ, 2015
Kemijärvi Art Gallery, Kemijärvi, Finland, 2015
New York Mills Cultural Center, New York Mills, MN, 2015
Anderson Gallery, Drake University, Des Moines, IA, 2014
Augsburg College, Minneapolis, MN, 2013
Gallery Gray,, 2013
Walker’s Point Center for the Arts, Milwaukee, WI, 2012
Living Arts, Tulsa, OK, 2011
College of Visual Arts, St. Paul, MN, 2011
University of Wisconsin-Stout, Menomonie, WI, 2010
Central College, Pella, IA, 2009
Babel Kunst, Trondheim, Norway, 2009
University of Rochester, NY, 2008
Washington & Jefferson College, Washington, PA, 2007
Eastern Oregon University, OR, 2006

De Vos Art Museum, Marquette, MI, 2016
Soo Visual Art Center, Minneapolis, MN 2016
Manifest, Cincinnati, OH, 2014
Kendall College School of Art & Design, Grand Rapids, MI, 2013
SadieHalie Projects, Brooklyn, NY, 2012
Prøve Gallery, Duluth, MN, 2012
Bowling Green State University, Bowling Green, OH, 2011
University of Toledo, OH, 2010
University of Minnesota, St. Paul, MN, 2010
Hunter College, New York, NY, 2010
621 Gallery, Tallahassee, FL, 2008
The Dock, Carrick-on-Shannon, Co. Leitrim, Ireland, 2007
Urban Institute of Contemporary Art, Grand Rapids, MI, 2007
Stone Gallery, Dublin, Ireland, 2007
University of Louisville, KY, 2006

Minnesota State Arts Board Artist Initiative Grant, 2002, 2004, 2009, 2012, 2014, 2016
University of Wisconsin-Stout Professional Development Grant, 2006, 2009, 2012, 2015
MCAD/Jerome Foundation Emerging Artist Fellowship, 2003
Bush Foundation Artist Fellowship, 2002

Place: St. Paul, MN