Music and art share a symbiotic relationship. One explains a feeling, while the other reveals a thought. They both, in some way, give form to that which cannot be explained. The art of Landon Metz operates much in this way — rhythms and images that appear entirely abstract, yet innately familiar.
Born in Arizona, Metz knew early on he wanted to be an artist as soon as he stepped foot in New York. Like many, however, his path was far from linear and he had to surrender himself to the ebbs and flows that come with living in any big city. This willingness to improvise seeps back into his work, which can be defined as large abstract shapes that are often painted across several canvases, resulting in lyrical compositions that contemplate the nature of being.
In recent years, Metz has shown in a number of solo exhibitions around the world, including von Bartha Copenhagen in 2022, as well as Rome’s Museo Pietro Canonica in 2018. His earlier studies largely featured single color patterns, either floating or overlaid across a series of raw canvases. His most recent paintings have opted to include a gradient of hues and shapes, some which veer towards figuration, as Metz simultaneously dabbles into music, as well.
Reminiscent of Brian Eno, Jan Jelinek and Yumiko Morioka, Metz produces ambient beats that would overlay well in a film score. Released on Sensitive Records, his debut album, Six Days at the Orange House, is pensive and thought-provoking — a fitting complement to work he creates in paint.
“Every aspect of my practice ultimately ends up moving in unison regardless of medium,” he tells Hypeart, “not necessarily by my own volition but something that feels much more akin to fate.”
For the latest Hypeart Visits, we caught up with the emerging artist and beat-maker to understand his approach to both and how to find your own rhythm amidst the flux of a changing world.
