Past Resident
Lawrence Matthews
Lawrence Matthews is an artist from Memphis, TN, working in music, photography, painting, and filmmaking. Matthews received his B.F.A. in painting from The University of Memphis in 2014. Recently, his exploration of photography has focused on areas and moments within black communities in Memphis that have been greatly affected by gentrification, systematic disenfranchisement, and city planning. Recently acquired by The Kim & Elliot Perry Collection, Matthews’ photo work captures moments of openness and the hunting reminders of things that once were, highlighting the conflict between remanence of the past and the modern-day, city-imposed infrastructural decay.
“I am a visual artist, musician, filmmaker, and curator from Memphis making work about the existences of Southern Black Americans living in the United States.”
Q&A with Lawrence Matthews (from Crosstown Arts newsletter, May 28, 2020)
Multidisciplinary artist Lawrence Matthews, a Spring 2020 Crosstown Arts resident artist, works in music, photography, painting and filmmaking.
As Don Lifted, his musical project, Matthews has performed multiple music shows at Crosstown Arts over the years — at the 430 space and in The Green Room at Crosstown Arts — often collaborating with other artists, such as Blueshift Ensemble and Madame Fraankie.
The 2014 University of Memphis graduate has shown work in group and solo exhibitions spanning galleries and museums across the Mid-South. His exploration of photography has focused on black communities in Memphis that have been affected by gentrification, systematic disenfranchisement, and city planning. His photography captures moments of openness and the haunting reminders of things that once were.
As program director of The Collective, Matthews has led impactful programming providing opportunities for black artists in Memphis. Crosstown Arts registrar Jesse Butcher caught up with Matthews to discuss his current projects and the spirit of collaboration.
Jesse: Recently, your focus has been situated between photography, performance, and curation. I’m curious about how you are approaching your residency at Crosstown Arts. Was this an opportunity to focus on a particular facet of your practice, a chance to take unlimited risks, or an amalgamation of both? What has been inspiring you lately?
Lawrence: When I applied for the residency, it was for my photography practice, due to my [recent] exhibition at the Dixon. But I wanted to get back into studio painting. I had been having a hard time with painting but gained confidence working on public art projects and wanted to explore a new body of work.
Those pieces required a lot of back and forth, acquiring materials for the various layers. Due to the outbreak and the closing of non-essential businesses, my work was cut short in March and throughout April. I had to shift back again to photography and my filmmaking work.
I’ve been songwriting for my next album, working on photography, and editing my film, The Hub, which should release in late May.
This has been a really interesting up-and-down time for me. The isolation and my thoughts have gotten to me more times than not, so I’ve been trying to find inspiration in peace — something I haven’t had a reason to feel in a while. Since college, it’s been non-stop, trying to advance my career and take care of myself. I can be a control freak at times. This time of literally having no choice but to sit down and chill has been really interesting. I’ve gone through little workaholic withdrawals, but it was definitely needed. I’ve been sitting outside a lot, focusing on my loved ones and my health, both mental and physical. I’ve been trying to be inspired by the pause.
Jesse: That is a very healthy perspective to have right now. When you begin working on a new record, how does that align with previous work? Is the process a constant reflection of your changed perspective over time? Where does the initial “spark” come to you to start a new record? Is it a visual cue, a melody, or a phrase?
Lawrence: I was going to end the Don Lifted project for a while and focus on the music I’ve been making under my real name with IMAKEMADBEATS and Unapologetic, but I stumbled into a new situation. I was provided with inspiration to write a new Don record.
I had ideas, but once life started to happen, I just started writing and mapping out the story I wanted to tell. Thankfully, this new record will exist very much in real time for me, whereas everything before has been reflective of times and moments that no longer exist. This record is now but still very much within the same themes of the car albums [Alero and Contour], maybe less car in this one though.
Jesse: Although you mention that you like to have control over your work, it seems that you also enjoy collaborating with other artists. When considering a collaboration, what is important to you? Do you have a process when working with other artists? Can you tell us about a memorable or impactful collaboration?
Lawrence: Collaboration has been my best friend over the last few years. My work with The Collective and Crosstown Arts really opened me up in that way. I’m definitely not as strong alone as I am with many ideas and talents surrounding me. I think for me to let go of that control, I really have to trust someone and what they do. Honestly, I don’t work with people I don’t trust in that way. I like to see a high level of passion. Someone might not even be the “best” at what they do, but high focus and passion are requirements. It’s really nice to just have someone come over for exactly what they do, and they add to whatever I’ve got going on. I’m always scouting in that way. The people I’ve been working with as of late, I’ve been watching for some time, waiting on the opportunity to be right.
I’d say some of my favorite collaborative moments have been how we are adapting to this climate — FaceTime sessions where people are recording things on their end and then sending the files to me or setting up little mobile recording stations in peoples’ back yards and running lines to a safe distance so they can record instruments. It’s been interesting and fun to push forward when it could be easier to just stop or wait.
After the tour was over and my residency started, we had all of this footage that Bailey Smith had shot on my VHS camcorder. We did a few interviews, and he put together this short, abstract film about those months. With the way COVID-19 interrupted the work I was doing, it only made sense to put it together and release it as soon as we could. He had full creative liberties, which is something that I rarely give out. Here is an example of that.
Jesse: Everyone is excited to hear this new project. The art and culture world is certainly having to react and adapt to the “new now-ness” of our times. I’m also interested in where you are with your film, The Hub. What is your editing process? Do you shoot more than you need and edit later? Or are shots more specifically scripted for “in-camera” editing? What are the similarities or contrasts between editing your film and editing for records?
Lawrence: The Hub is done. I’m just waiting on the right moment to release it. I have a few film projects to be released in the coming months, but the timing has to be right. Considering that millions and millions of people are out of work, and others are forced to risk their lives at places like Amazon for billionaires to keep making money, this would be the perfect time to release it, especially in relation to our climate here in Memphis.
While working on films, I’ll have a general script and shot list, but I do a lot of site-specific stuff. If I see an angle that will add to the general film composition, I’ll work it in. It’s a mix of standard shot listing, improvising, and changing things in the edit.
I definitely shoot films with the same philosophy I use when I shoot photos, but I’m super meticulous in editing, as I am with music. Editing is honestly my favorite part. That’s where you see it turn into whatever was in your head, hopefully.
Jesse: What else has been holding your attention lately? Have you found anything especially comforting or stimulating recently?
Lawrence: A lot of podcasts. I don’t have TV or WiFi, but my neighbor has a pretty strong signal, so I have a pretty okay signal if you know what I mean. I’m watching whatever critically acclaimed film I can find and listening to podcasts about music. And I’m laying concrete in my backyard for a basketball court, which is giving me something to give my physical energy to.
