Matías Paradela

Hunted Projects: Can you tell us a little about yourself and your creative background?

Matías Paradela: I was born in 1989 in La Plata, Argentina. I always felt like something was missing. I made tons of drawings, illustrations, storyboards, and a box full of sketches that nobody ever saw or care about. Then I met Yashira Jordan (filmmaker) in 2013 in an animation studio. One day she opened that box and said to me: you should dedicate your entire life to painting!

She also showed me a book about an American-Bolivian painter called Keiko Gonzalez and claimed: You should meet someday! And later that year, she asked me to travel to New York City with her. I joined her even though I didn't know her well.

Since that year, we worked together, did animation films, a rooftop cinema, stop-motion festivals, and short films in Latin America. We traveled the world together and four years later got married. Now seven years later, Yashira is my manager, a true hero. 

I have had many jobs so far in this life; a teacher, dishwasher, stop motion animator, dog walker, you name it, but the day I met Keiko Gonzalez, I knew that was it. I honestly was expecting to work for him as an assistant, like stretching canvases or even cleaning, "Mr.Miyagi style." But that never happened. He actually let me paint in his studio and encouraged me to paint professionally; I know that moment was a turning point for me, no doubts.

Since then, I never stop working hard and doing exhibitions all over. Now I live in between Bolivia and Argentina, and whenever we can, NYC.

HP: Gas Tanks is a fascinating series of paintings that own a lot of personal significance to you. Can you discuss this series of works for the viewer? When did it begin?

MP: When I moved to Bolivia, I started to notice these gas tanks. They were like strange creatures inside every house. They caught my attention! For Bolivians, they are part of every day life; they use them for cooking and for warming their homes. To me, gas tanks are part of the Bolivian identity. Like the flag or the national anthem, they remain silent and invisible for most people, and I find that fascinating.

So I decided to paint them like these expensive vessels to make them as beautiful as I think they are. My first studio in Bolivia is hidden inside a beautiful and mystical forest. In the middle of it, Yashira's grandma lives inside a big house surrounded by a farm with chickens, cats, and an orchard. She owns a remarkable collection of books, art, vessels, and sculptures from Greek mythology to the Chinese Ming dynasty. You can still find old, dirty and gross misfits. Gas-tanks are even hidden in the kitchen of this elegant and classic space. And maybe I felt empathy with these creatures because I thought I was also invading this beautiful space. I wanted to make the gas tanks blend in this luxurious environment.

HP: The Gas Tanks exhibition with Hunted Projects is fantastic. Thank you for these works. The paintings are bold, colourful, delicate and vibrant. Every work is unique and incorporates a beautiful decoration. Do photographs or images that you collect inspire you and these paintings?

MP: I start exploring these books and researching these other cultures in the library of the house. Now specifically for the series for Hunted Projects, I wanted to be freer and make designs from memories and by creating my own decorations. I'm always experimenting and trying new materials. Something new that I have incorporated since I moved to Buenos Aires is a technique inspired by the old photographs you can find in a typical pizzeria. They basically paint colour over the black and white pictures that are hanging on the walls! So, I wanted to try the same thing with watercolour: Painting first in black and then adding colour. I also incorporate oil paint just in the background, so the painting has this notable separation in texture and sensations between water and oil.

HP: Can you tell me about your studio and working routine? Do you have any morning rituals or habits that contribute towards a fulfilling day in the studio? Do you paint every day?

MP: Every day is the same—Groundhog day. Now that we just moved to Buenos Aires, I have a studio inside my house, so I try to have a strict routine, make many thumbnail sketches that I rarely use, then drink coffee and start painting. I try to make one painting per day. Every day I'll finish one, and I'll create a new one; in between, I maybe have around ten works floating around undefined, hopeless or promising. I work in many formats and techniques, going from one series to another. This helps me keep myself in a smooth flow and so I don't feel too attached to a single painting.

I like listening to podcasts and audiobooks while I'm working; that keeps me focus. At some point in the day, my wife comes in and tells me,

"I had bad news and good news," I say; I always want the bad ones first, and so on. It's essential to take a nap and restart the second part of the day, feeling fresh for more work. 

HP: Are there any specific artists that have been notably inspiring and influential to you?

MP: This is my dream team: Katherine Bernhardt, Katherine Bradford, Rose Wylie, Danny Fox, Jordy Kerwick, Douglas Cantor, Matthew Palladino, Klub7, Keiko Gonzalez, Ricardo Passaporte, Taylor Anton White, Tom Sachs, Andy Dixon, Jonas Wood, Robert Nava.

HP: In relation to social media and Instagram, it is fantastic that Instagram was how we connected. What you are your thoughts on the importance of social media today?

MP: Sometimes I feel we overshare or consume excessive amounts of images, and very rapidly, sometimes, it all looks the same. As a painter that requires making stronger images, you need to make the first punch to catch the eyes and stop the fingers from scrolling. It's a whole new dimension; it requires a lot of energy and talent; I can't imagine doing it all on my own; it's more like a collaboration; you want someone else to be really involved.

HP: Any last points or thoughts you would like to share?

MP: I think it's great you are doing this for emerging artists, and I personally love being in the company of the other artists you have ‘hunted.’ Cheers!