Matthew Broussard, is an internationally known artist, born in 1963 in Lake Charles, Louisiana, USA.
He was raised in Dallas, Texas where he also began his art studies by attending the Arts Magnet High School at Booker T. Washington in Dallas. In 1987 he completed his studies with a BFA cum laude in sculpture from Maryland Institute College of Art in Baltimore, Maryland.
For 7 years Matthew was dividing his time, or vagabonding as he expresses it himself, between North America and Europe and he considers those years as an important part of his artistic education.
He finally settled in Italy in 1992.
Over the years Matthew Broussard has been exhibited in Austria, Croatia, Germany, Italy, Scotland, Sweden and USA. He has participated in many art competitions, where he also has won several prizes, and his work has found admirers worldwide, from private collectors to Italian cities which have commissioned him to create permanent public installations.
Matthew expresses his art in sculptures, paintings and installations using a wide variety of materials, techniques and styles. He has a burning interest in seeing exceptional qualities in everyday life and common objects. Transforming them and creating dramatic renderings which invite the viewer to look with attention at things which are seemingly unimportant. Aesthetics are both a limit and the final goal towards which Matthew Broussard works: the aesthetics of plain worthless objects, those things from which no-one expects beauty. There are paintings in gold leaf on steel, paintings on old road signs and old bed sheets. Sometimes the material suggests a painting to him, and at other times he chooses the material to convey a subject, his works have a history and the things represented seem to take on a personality.
Matthew is convinced that everything we make, consume or do is supported by a complex historical, social and sensorial subtext. Nothing has a fixed and inherent meaning, but all meaning is applied, and usually applied collectively. Much of his work is an attempt to weaken the subtext of meaning to the surface, firm in his belief that, in the long run, you can’t hide your tracks. It might be tempting to say that there is some degree of politics in his work. In one sense yes, as he often tries to encourage viewers to consider how they affect and are affected by the world in a social sense, but he would like the social aspects to express themselves on a personal level, rather than an institutional level. Because if one clear gesture can spark a complex series of questions, then perhaps viewers will be more ready to have those questions sparked again. As he himself says; “there is nothing more complex than clarity”.