Matt Kerley is an artist, tattooer, and freelance illustrator currently based out of Raleigh, NC. If you’re already familiar with Holy Mountain Printing, you’ve probably seen Kerley’s illustration work for bands like Zao & Earth Crisis. In addition to illustration and personal work, Matt runs his own clothing company, Death Mask, where he also sells prints, art books, and more. Nowadays, you can find Kerley tattooing at Old Ghosts Tattoo here in Raleigh, NC. I recently had the opportunity to ask Matt about his art background, concepts and symbology found in his work, and artistic influences.
OH: As an artist, tattooer, and illustrator, I’m interested in the evolution of your creative career. What is your art background? How did you arrive at your current place as an artist?
MK: I’ve been drawing and creating since I was a kid. It’s hard for me to think of a time when I wasn't making something. But in my adult life, I studied at the School of Fine Art at East Carolina University in North Carolina - graduating with a double BFA in concentrations in both Painting and Sculpture. While I was in school, I apprenticed to tattoo at a local shop. So by the time I was graduating, I was able to tattoo full-time. I’ve traveled and tattooed in every state in the US as well as overseas and in Canada. Tattooing has given me a chance to see and experience a lot in this world.
OH: Wow, I didn’t know you have covered so much ground. That’s amazing.What impact has tattooing had on your artmaking and vice versa?
MK: I think it’s more the other way around. My fine art background has had more of an impact on my tattooing. My ability to see things in a third dimension, as well as being classically trained in color theory, design, figure studies, and general art theory, has led me down an interesting course in tattooing. To this day, it’s very rare to see anyone with an art degree tattooing.
The body of work I have made in the last ten or so years of tattooing has been what I was doing previously in my personal work. It just took a while to learn how to make it into tattoos and not just work on paper. Tattoos, unlike work on paper, age with the person and alter itself as it ages. Which is a fascinating aspect to the work itself. Also, finding the demographic of people who would want my work tattooed on them forever presented a challenge at first.
A lot has changed in tattooing since I started. It’s a very interesting and progressive time for the tattoo world.
OH: What ideas and concepts are you most interested in exploring in your personal work?
MK: Ever since I was a little kid, I’ve used art as a therapist or a way to get things out in a healthy manner. I suppose I am still doing that. Lately, between tattooing, commissions, and Death Mask, it’s been hard to find the time to be able to make any work just for myself. Most of the time, these days, it’s just working in sketchbooks. Since I have a larger studio space now, I have been working on more sculptural pieces as well as large ink drawings on watercolor paper. Which is my favorite way to work because it is so much different than tattooing. I can be a lot looser with the work itself. I can even step away from it when I get tired of looking at it. With tattooing, you're locked in until it's done. I do enjoy how my personal work will feed into tattooing and the tattooing will feed into my personal work. At least as far as subject matter and style goes.
OH: What imagery or symbolism interests you?
MK: Usually, the more macabre type of imagery, for sure. As a kid, I pretty much grew up in the hospital. My mother was a nurse, and my brother was constantly ill. So, I would be surrounded by anatomy lessons and be told information about medical science at an early age. That, on top of my love of horror movies, darker artwork, and indie comics, has led me to where I am in my work. I like to go into doing several series with my work and try to decipher where the symbolism comes from. I did a series on cabins a few years ago - both in my personal and tattoo work. Also, the work I do with anatomy - mostly teeth and trophy necklaces mixed with Mannerist type of figure work.
OH: Any favorite collaborative/illustration projects you’ve worked on?
MK: During the pandemic, I did a flash set with my friends Travis Madden and Myles Karr. We each worked on two sheets at a time and just mailed them to each other in a rotation until they were complete. A couple years ago I started a digital email art series with some friends of mine. Similar to a new age Ray Johnson. Since we all have iPads now and we do a lot of work with them, we would each start a piece and email it around to 5 to 10 people and then end up with something, kind of like an “Exquisite Corpse” project. I intended to make a zine out of it but it never got very far after the quarantine lifted and we were able to work again. I’ve been wanting to make some collaborative tattoos lately. Mixing styles and subject matters could provide for an interesting body of work.
OH: Who are some of your favorite artists and art influences?
MK: The most obvious one is Raymond Pettibon. But others would have to include Francis Bacon, Hans Bellmer, Jim Woodring, Charles Burns, Daniel Clowes, Daniel Higgs, Sam Kieth, Jaime Hernandez, Stephen Bissette, Rick Vietch, Jim Nutt, Rodin, R Crumb - just to name a few off the top of my head. But it kind of goes all over the place, really.
OH: What are some other things outside of artists and tattooers that influence your work?
MK: Just living in this horse shit world. If it doesn’t light a fire in you, then you are completely broken.
OH: Thanks so much for taking the time to talk, Matt!
MK: Pleasure is all mine.
You can find everything Death Mask as well as art books & more on https://mattkerley.bigcartel.com/. Check out more of Matt’s work on ig @mattitude.
