DALLAS — It may surprise some that Matthew Wong’s inaugural U.S. museum exhibition and retrospective takes place in Dallas. Despite having strong connections to New York City, the talented painter, who lived in Canada, Hong Kong, Michigan, and China, never resided in Texas before his premature death at 35. Nevertheless, Wong’s 2017 visit to Dallas offers insights into his identity as an artist.
Wong completed his painting “The West” in early 2017, and his New York gallery Karma showcased it at the Dallas Art Fair in April that year. Determined to attend his first U.S. art fair, Wong traveled from Edmonton, Canada. Known for his rapid artistic evolution, he decided the day before the fair to enhance the piece by adding a star-filled sky. The Dallas Museum of Art (DMA) acquired the painting, making it the sole museum to collect Wong’s work during his lifetime. When the DMA added it to their collection, the paint was still fresh.
This story underscores Wong’s relentless dedication and clarity in his artistic vision. He seized professional opportunities regardless of distance and maintained strict creative standards. These qualities are evident in “Matthew Wong: The Realm of Appearances” at the DMA. Curated by Dr. Vivian Li, the exhibition showcases nearly 50 of Wong’s paintings spanning oil, watercolor, ink, and gouache, capturing his brief yet remarkable six-year career. Li remarked, “From the very beginning, he was confident in his art,” highlighting the world catching up with Wong’s rapid progress.
For Li, who joined the DMA after Wong’s death in October 2019, the exhibit aims to shift the narrative around Wong’s biography, mental health, and market ascent, focusing instead on his art. The show begins with Wong’s initial ink paintings on rice paper, reflecting his roots in photography and ink drawing. These pieces, with their bold black lines, connect Wong to his Chinese and Hong Kong heritage, as discussed in an essay by Lesley Ma and a Hyperallergic review by John Yau.
Contrasting his ink work, Wong’s oil paintings feature dense layers, revealing his intuitive process without sketches or preconceived ideas. Li describes these works as “artifacts of the moment,” capturing his emotional and creative state. Wong’s diverse body of work at the DMA challenges the notion of him solely as a melancholic artist, highlighting his vibrant and dynamic side.
Li emphasized Wong’s commitment to his global network of artists, critics, and gallerists, facilitated by his active online presence. This openness enabled him to connect with figures like Jerry Salz and Jonas Wood, bypassing typical barriers in the art world. “He recognized the need for building a context and a community around his work,” Li stated. Wong’s exhibition in Dallas allows more people to appreciate his art firsthand.
“Matthew Wong: The Realm of Appearances” is on view at the Dallas Museum of Art (1717 North Harwood Street, Dallas, Texas) until February 19. Dr. Vivian Li curated the exhibition.
