Angel
Digital Paintings, 2025.
A continuation of the themes explored in Late Stage Mythology, this work deepens my investigation into how meaning is constructed within the visual noise of contemporary life. Each composition is a maximalist convergence of analog and digital—photographs of my hand-painted and collaged works are reassembled with three-dimensionally illustrated elements, forming dense digital tapestries that blur the line between painting, sculpture, and simulation.
These compositions employ Judeo-Christian-influenced archetypes as recurring avatars for spirituality and human longing. These figures appear not as symbols of doctrine, but as echoes of inherited myth—visual remnants through which I explore belief, redemption, and the search for transcendence.
Together, these works reflect the tension between our physical and digital existences, asking how spirituality, identity, and meaning evolve in a crowded, chaotic world where reality and simulation are increasingly intertwined.
Hardware: Apple iPad Pro, Apple pencil, MacBook Pro
Software: Adobe Photoshop, Procreate
Media offerings : Limited and single edition prints on paper, wall mounted animations.
For more information: Contact Us
Exhibition
Bits & Pieces Nov. 08, 2025
YURIKO YAMAGUCHI • WC RICHARDSON • DAN TREADO • CAROL BROWN GOLDBERG • TOM BUNNELL • CHRISTOPHER BAER • ROBIN BELL • WOLF KAHN • ISABEL MANALO • JONATHAN MONAGHAN • MATTHEW CURRY • JENNIFER SAKAI • JULIA BLOOM • TOM GREEN • NANCY SANSOM REYNOLDS • TREVOR YOUNG
ON DISPLAY THROUGH NOVEMBER 29, 2025
studio insights
Process: Angel
Digital assemblage
My approach to digital art is grounded in an analog sensibility. Although I work primarily within digital environments such as Photoshop, I treat each layer, texture, and pixel as though it were a tangible material—responsive, imperfect, and capable of gestural nuance. Through the spontaneous manipulation of layers and assets, I construct compositions and visual languages that could not exist within the constraints of the natural world.
In this process, pixels become the equivalents of pigment and graphite; simulated textures, dithering, and pixelation operate as analogues to traditional mark-making. The aim is not to replicate the surface of painting, but to embrace the digital medium as a site of authentic expression—where intuition, accident, and material exploration converge in a manner parallel to physical studio practice.
- MC
Contact
We welcome collaborations, commissions, and conversations. Whether you’re a brand, institution, or collector interested in Matthew Curry’s work—or simply curious to learn more—please reach out. The studio is based in Washington, D.C., and works with clients and collaborators worldwide.