Landon Metz, is a transdisciplinary, conceptual artist living and working in New York City. His work investigates ontological questions of space, duration, and movement.
Throughout his career thus far, Metz has garnered critical attention for his painting-based practice, often implementing architectural interventions, produced in dye and canvas, advancing traditions of American abstraction. In Metz’s images, forms span multiple panels wrapping impossibly from one border of the canvas to the other – top to bottom, or left to right – hanging in adjoining sequences.
The arrangements trace the contours of architecture with occasional disregard for its surface, portals, or obstructions. They invite the viewer to reflect on how they process and inhabit space, both visually and bodily.
“My practice is largely about breaking down polarities, and I think that’s apparent in the way I present space. It’s about negotiating between setting and subject, public and private.”
In the wake of the birth of his son and the passing of his father, Metz returns to a powerful mode of communication he learned early in life – music.
Releasing on May 26th, Six Days At The Orange House is a deeply personal piece, a sonic catalog of a week Metz spent in Copenhagen during the autumn of 2022. Throughout the work, Metz explores similar themes in music as an extension of his painting and installation practice.
Six Days At The Orange House is a record – a personal narrative made transcendent, juxtaposing pain and longing with hope and gratitude. Like his paintings, each track is produced by hand with care, evidenced in its occasionally irregular metre and organic repetitions. The overall enveloping texture of its sound speaks to Metz’s ability to immerse the listener in a distinctly human, poetic narrative. The album is both immensely personal and universal – a rendering of place with story through tonal sequences, memories, echos, emotions.