Bernard Mattox

Explorations of an Archeological Artist:

Bernard Mattox

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EDGE August | September 2018

STORY KIM BERGERON PHOTOS BY JERRY COTTRELL

As a child, Bernard Mattox spent what he refers to as his “Huckleberry Finn” years in the woods along the banks of the Bogue Falaya River in Covington. In 1963 his parents built a home on the river’s shore, and his Sawyer-ish sidekicks were his siblings.

In 1969 his father passed while on a business trip in Missouri, leaving his mother widowed at 38 with five young children. The family moved back to New Orleans, and soon after Bernard attended boarding school in Maryland.

He speaks with much admiration of his mother and remains in awe that she was able to carry the family through extraordinarily difficult circumstances. “She was just incredible,” he says. After graduating from high school Bernard attended Tulane University, opting for a major in anthropology. Two years into his studies he embraced the realization that his thirst for knowledge extended far beyond the university’s campus, and he had a burning desire to learn by experiencing the world on his own. So in 1974 he forged ahead, leaving his anthropology and geology studies at Tulane behind.

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The following year Bernard took an elective ceramics class at Loyola. It was his first real experience in creating art, and it changed the course of his life. Though he continued evening classes at Tulane, in 1979 he made the decision to move to Lafayette, where in 1982 he received his Bachelor of Fine Arts degree from the (then) University of Southwestern Louisiana. He returned to New Orleans and attended Tulane University on a full scholarship, earning his Master of Fine Arts Degree in 1984. Shortly afterward he took the helm of the university’s ceramics department.

Through all of his studies and teachings, the artist remained rooted in the river and the many memories it held in his heart. In 1991 he returned to the banks of the Bogue Falaya. In 2013 he opted for what is now his more secluded studio, deep within the woods of Covington.

St. Tammany Art Association 985 892 8650 sttammanyartassociation.org

Saladino Gallery 504 236 8827 saladinogallery.com

Throughout his career, Bernard’s work has been influenced by the likes of Joan Miró, Tapas Roy, Cy Twombly, Pablo Picasso, Willem de Kooning and classical virtuosos like Leonardo da Vinci and sculptors Henry Moore, Constantin Brâncusi and Stephen de Staebler. He also draws inspiration from the primitive sculptures of African and pre-Columbian Egyptian artists. “And the art of almost all children under eight years old,” he smiles. Ah, the age of innocence.

On a local basis he credits his close friend, Edward Whiteman, as an unofficial mentor, and describes him as a brilliant painter and sculptor.

Bernard’s media of choice are oil paints, graphite and, of course, his first infatuation, clay. Oftentimes he embellishes with found objects. With rare exceptions Bernard does not title his pieces individually, but opts instead to title entire series of works.

“In general, I just believe that titles direct the observer in too narrow a way of experience,” he says. “I try to keep some secrets, some mystery. I intend and hope that the paintings imply more than one layer of meaning – a certain hiddenness requiring some excavation.”

When asked which of his series is his favorite, he names two: “Chasing the Thing: the River Fugue” and “The Archeology of Solitude,” both of which he believes showcase some of the best works of his career. His artwork can be found in the public art collections of the Ogden Museum of Art, The New Orleans Museum of Art and the Pentagon in Washington, D.C. In the Covington area, Bernard’s art graces the collections of the St. Tammany Parish Judicial Center, the Southern Hotel and the Center for Development and Learning in Covington. The artist has been described as an “electronic age shaman” with works that are “mythological” and “wonderfully whimsical.” To experience Bernard’s work — and it is, indeed, an experience — is to delve deeply into mankind’s past and present, exploring a multitude of facets that are in part autobiographical, part anthropological and part archeological. It can be likened to embarking on a journey that begins with the Paleolithic paintings in the caves of Lascaux, meanders through the ancient tomb paintings of the Egyptians and flits through the studios of the many abstract artists whose works have influenced his. The elements which result are collectively and intricately woven with incredible depth and highlighted with architectural accents.

Clearly, there are no limits to this artist’s imagination.

“We are all products of many thousands of experiences, memories and dreams,” he says. “I just try to excavate them — hence the title, ‘The Archaeology of Solitude.’”

LETTER FROM THE MAYOR

Gallery owner Danny Saladino, whose surnamed gallery represents Bernard, says that the artist’s creations are the type of work with which one develops an ongoing relationship, constantly unfolding and evolving.

“Bernard seems to have an innate ability to render and communicate our inner dialogue,” he says. “For me, it’s a surreal feeling to pour over the detailed tapestry of symbols, glyphs and illustrated totems in his work, and arrive at a point of personal discovery. It’s as though I’m trying to understand an oddly familiar, yet long lost language. It’s the chronology of the human condition laid bare and deconstructed, imperfect and undeniably beautiful.”

That ability has led Bernard to a teaching role as well. For four decades, he has provided artistic guidance to students ranging from kindergarteners to graduate students. He also offers private lessons, primarily for sculpture and his first love, the potter’s wheel. He has served as an Assistant Professor of Art at Tulane and Xavier Universities, and for 15 years he taught children’s “Mudbugs” art camps at St. Tammany Art Association.

More recently, his teachings have focused on a trio of men whose lives have been impacted by severe brain injuries. While the three reside in a permanent rehabilitation facility in Hammond, their “classrooms” are the studios of many local artists, including Maggie McConnell, Babette Billeau, Edward Whiteman, Jose Maria Cundin and Bernard’s godfather, renowned artist George Dunbar. The students also enjoy time in developing their artistic talents with the pottery wheel, painting and drawing, supplemented with mini art history lessons.

Their art explorations have brought them to Saladino and Tripolo Galleries, exhibitions at St. Tammany Art Association and to the incredible deWitt murals at St. Joseph’s Abbey. He is hopeful that his students can join him for his upcoming solo exhibition at St. Tammany Art Association.

“I have found that the work I’ve done with these students for the past four years is more rewarding than anything else I have done,” says Bernard. “It’s a lesson in patience, acceptance and gentleness of spirit that is very endearing.”

The artist has a plethora of advice for aspiring artists, including the recommendation that they become what he calls “studio rats” who practice every day, likening such to the discipline of basketball players and “gym rats.” He encourages artists to develop a work ethic that is not dependent on passion or feeling inspired, the former of which he feels is a frequently overused word.

“Creation is a result of the osmosis of daily work,” he says. “This is much discussed in Stephen Pressfield’s book, The World of Art, highly recommended reading.”

Lastly, he says that the rewards of this life are amazing but artists should remember not to be discouraged by the many pitfalls and failures. “No one escapes those,” he says. “Work anyway.” In all, Bernard has lived in a studio world for 43 years, and he has every intention of spending the rest of his life surrounded by and creating art.

“If I have to die, let it happen in the Metropolitan Museum in New York,” he says.

Given that the museum’s global collection represents more than 5,000 years of historic and modern art, it seems a rather fitting final resting place for this archeological artist.

Bernard Mattox’s exhibition, “Chasing the Thing: the River Fugue Series” will be on view at St. Tammany Art Association’s Art House from September 8 through 29. The show is free and open to the public.

DEAR CITIZENS OF SLIDELL,

My name is Greg Cromer and I am the new Mayor of the City of Slidell.

I would like to thank our citizens who put their faith, hope and belief in me and honored me by giving me this opportunity to serve as your Mayor. Thank you for creating a feeling of excitement in our community and for sharing that excitement with me. Your enthusiasm for our great city drives me and encourages me.

I am excited about Slidell and the opportunities that lie ahead. The previous City Council set the bar mighty high showing how to work together with the administration and move our city forward. I look forward to working with them, and moving Slidell forward together.

But this new administration is not just about us. It is about you, our citizens and our community. You will drive the change and will determine what Slidell will be in the future. Together, we will make that happen.

It’s said that perception is reality, and together we are going to change our own perception first. We will create a new reality for Slidell: a new reality of regional cooperation amongst or neighbors and parish, state government and federal government. A new reality, not just for those in our city limits, but for all 90,000 people who live in a Slidell zip code and call themselves Slidellians. A reality of a modern government that serves its citizens with convenience, efficiency, openness and respect. Together we are going to take the solid foundation that Mayor Drennan’s administration laid for us and we are going to build that new reality upon it.

Greg Cromer City of Slidell Mayor