Matthew Belval

Originally from Granby, Matthew Belval lives and works in Montreal. From a young age, he learned about painting under the teachings of a Montérégie artist. He continued his artistic journey in various institutions, but it was in bohemia that he found his way. In the summer of 2009, Matthew left his hometown to settle in the metropolis, where the condition of the homeless moved him. The neighborhood awakens his sensitivity for humanity, despite social barriers. He begins a touching series of paintings devoted to the street. From 2014, Matthew regularly went to the La Rockette bar to paint in front of an audience with a handful of other artists. In 2015, on the occasion of the 30th anniversary of Quai des Mignes, the artist exhibited 30 portraits of men and women who participated in the growth of this essential Montreal bar. This period quickly immersed him in the world of music, which allowed him to forge links with singer-songwriters. In 2016, he began the “Backstage” project, presenting artists on stage, off stage. He was notably approached by Jacques Jacobus to create the cover for his album. In 2018, his work made its first appearance in cinema. He was asked to create an original work for the short film “La Porte”, which tells the story of an agoraphobic painter played by Patrick Huard. Since 2014, his creations have been repeatedly selected to participate in fundraising organized by prestigious foundations such as Art Sida, Jacques Bouchard and Le Groupe Perron. Matthew Belval is currently pursuing a series of intimate portraits, presenting the artists in their neighborhood, including Louis-Phillipe Gingras, Ngabo Kiroko and Klo Pelgag, in addition to being represented at the Station 16 urban art gallery in Montreal.

Matthew Belval is a naturalist painter whose work is the consecration of everyday life. In his paintings, he gives a prominent place to subjects that usually escape representation. Whether it is a container covered in graffiti, leftovers from the morning table or even a face without makeup, the artist seeks to pay homage to nature as it is. There is something fundamentally universal in this ordinary beauty.

His approach

While almost everything appeals to him, humans represent the most recurring subject in his practice. Regardless of social status, it is the challenge of resemblance and the desire for transcendence that guides the artist. The encounter between the material – clothing, accessories, tattoos – and the immaterial – gaze, posture, emotion – constitutes a pleasant lottery. Each individual has a combination that makes portraiture endlessly inspiring. Preliminary research is carried out through photography. According to the words exchanged, Belval's lens begins to search for states of mind. His gaze is at eye level. He favors spontaneous compositions and sources of natural light. Subsequently, the artist selects the print, observing the positions and expressions. He places particular importance on patterns and textures, finding pleasure in translating beaded necklaces and plastic bracelets. He observes and records the smallest details, then meticulously transcribes them using his brushes. Although the photo remains a reference throughout the creation, the artist proceeds to transform the image. Piles of oil paint and puddles of liquin spread on the palette, canvases coated with gesso, easel resting on a modest rug and a few neon lights frame his workshop. Freehand, the artist draws the first lines of the composition, using a grid in thirds and a stick of charcoal. At this stage, he ignores what is disturbing, going so far as to subtract the environment around the subject. If the supporting objects tell a story, the accompanying voids guide the eye to the essential. His realistic work emanates a classic style, without excessive smoothing. The painter's brushstroke is apparent. Between impasto and transparencies, his palette remains sober. Dirty colors enhance bright colors. Belval's portraits are honest, never boring. It acts as a channel of empathy between the subject and the viewer, without passing judgment. Belval democratizes the art of classic portraiture. In this sense, his approach is resolutely contemporary