Matina Stamatakis has "arrived" even if the rest of the world has been too slow to realize it. Her newest "art/non" textscape is a veritable plum pudding of ruthless extravagance, a cryptological scherzo written in "sanscript", so to speak. Teasing out texture from text, this most recent offering from the Xerolage series has a haunting aspect that unites papyri and the phantom after-effects of words in constant stochastic exile. In essence, Stamatakis "writes" perpetually double, the reflection upon a surface of "lin/geist" that judders with an ekphrastic motion of the cinematic or photographic double-take.
—Kane X. Faucher
Tombstones and footprints, prehistoric imperial Chinese silk distressed and preserved in airtight tombs, Sapphic papyrus scrolls used as winding sheets for the human dead: languaged shapes (letters, glyphs, cuneiform, runes) layer each other on multidimensional, neonic, poly-textural surfaces that glow through the eras, aeons and ages. Evocative of sound, syntax and melismatic intuition, these works are endlessly resonant through time, space, and mind, expanding them all.
In Matina Stamatakis' Grapyrus, an utterly fresh light unveils antiquities. Under the cold glare of the photocopier's bulb new thoughts are seared onto the richly textured venerability of the page. Here is a vibrantly dark art that does not merely mimic or ape antediluvian roots, but consciously honors and revises them, relentlessly refreshing deep-seeded threads of thought. Flourishing gestures of contemporary graffiti no longer deface or elide, but honor; the visually brutalizing process of Xeroxing accentuates, antiques. Here papyrus and spray paint conspire to create a Rosetta stone for the hermetic communiqués scribbled on bathroom walls. The "reader" wanders through a nonexistent city, inexplicably entranced by the tattered posters pasted to crumbling edifices, and couldn't be happier to be so utterly lost.
—John Moore Williams
from the introduction:
hybridized linguescape as art/non: The ambiguous, archaic, new-wave splatteringly absorbed fray of Sea Scroll & documentation graffitied two separate entities combined to form old/new coagulation as seen in the roots, mud, impregnated with seed & formed to grow, thrive in its papyric womb ancient scripts of Egypt, Greece, New of Berlin Wall, gang symbol, modern-day expression of art/decay expression as on walls it is sprayed, or displayed with newspaper, we, day of days, pay homage to our ancestry thru mimic.
Matina L. Stamatakis resides in upstate New York as a freelance photographer. Some of her images can be found in Siren, Stirring, La Petite Zine, Black Robert Journal, and many others. She is the author of Metempsychose (Ypolita Press, 2009), and co-author of the forthcoming Xenomorphia (Wheelhouse Press) with John Moore Williams.