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Matthew Callaby, known as MrCallaby, is a British artist, currently based in Bristol. He uses acrylic on canvas to create cute, chubby characters in a strange, vivid world.
His work often features anthropomorphic characters painted in his unique, illustrative style. Despite see-sawing between adorable and disturbing, Callaby’s main goal is to create a sense of fun within his work.
Hi Matthew! It’s a pleasure to sit down with you! First question that I always ask: How does a regular day look like for you in Bristol?
Matthew: Up early, take the dog for a big walk, poached eggs, coffee and then in the studio painting. Then it’s a mixture of painting, dog walking and doodling up until the evening where I’ll tinker on the laptop or doom scroll. I’m pretty militant with getting at least 8 hours of studio time in everyday.
I’m curious, growing up, what kind of kid were you? What did you enjoy doing, and how did you spend your time?
Matthew: I used to love creating worlds, either in my imagination or drawing them. This was a theme throughout my childhood and probably why I loved cartoons so much.
Alright, so do you remember approximately at what age your creative side started to show? And when did you start taking being an artist seriously?
Matthew: Doodling South Park characters and skate brands on my friend’s school books when I was about 8, was when I first experienced a positive response to being ‘arty’.
You come from a background in graphic design and advertising. How did that shape the visual language you use in your works today?
Matthew: Although it was a dream from a young age to be an artist, I never deemed it feasible and took the cowardly route by studying design. After graduating I moved into advertising and worked as an art director for 7 years, which I think has shaped my art practice massively.
It sounds a little gross, but I almost approach my work like an ad campaign. Creating one consistent body of work, routed in a single minded idea. Making sure everything feels like it’s from the same world, from the art all the way through to the promotional material. I really enjoy working in this way and seeing just how far you can push an idea.
Working in the corporate world, you weren’t allowed to wait until you felt creative, you had to turn up everyday and come up with ideas. That has been a valuable lesson for me, forcing yourself to draw even if you’re in a creative rut. One little sketch can inspire an entire collection.
What were some of the biggest challenges when shifting from a commercial creative career to life as a full-time artist?
Matthew: Trusting your instinct. Making art is a quiet and private process, so without external validation along the way you have to trust your instincts. This can be a little daunting, particularly at times of self doubt.
Ok Matthew, with these next series of questions, I will try to delve into your work as best as possible. So… Your characters are instantly recognizable: round, soft, a little sad but sweet. How did this visual world come to life?
Matthew: For my 14th birthday my Dad bought me a book about street art, it was predominantly focussed on stickers and wheat paste artists. This was when the character street art movement was first blowing up and independent zines like VNA were documenting it. I remember how exciting it all felt. It combined my love for cartoons and the teenage excitement of graffiti, so I was immediately hooked.
At the time it was common to have a chunky character as your street alias, which you’d paste about, so I just copied this theme and drew intensely until I landed on these chubby yeti type characters and kinda never stopped developing them. I like the soft visual style, it’s comforting.
So who are these characters? And what is it about this cartoony style that resonates so well with you?
Matthew: Like music, you tend to gravitate to the bands you first loved when growing up, for me it’s the same with art, this was the type of art that I first got swept up in, it felt new and exciting and it’s stuck with me ever since. Because I’ve been drawing these characters and developing this world for so long now, they feel like an extension of myself.
Do you see your characters as part of one world or universe? Is there a larger narrative at play?
Matthew: They’re all part of the same world, with each new theme developing and building on this world. The characters and style have become a visual vehicle that allows me to communicate ideas and messages.
You’ve said you want to make “fun” art. How do you balance that with the occasional sense of loneliness or vulnerability that comes through in your work?
Matthew: That’s the beauty of cartoons, they take the edge off of difficult subjects or have the ability to make light of uncomfortable moments, I tend to do this in my real life.
These more somber ideas that are sprinkled throughout are meant to be subtle, I don’t want them to feel forced or worthy. I’m not trying to make any big statements, just subtle observations or feelings that are gently in my work, surrounded by a sense of fun.
How do you feel about the art world right now, especially as someone working with figurative and character-driven painting?
Matthew: There’s a big shift happening, specifically in regards to the financial side. I think we will see a rise in independent, DIY exhibitions popping up.
You moved to Montenegro to focus on your painting full-time. Why did you move there? And what was that experience like?
Matthew: To move remote and fully commit to making art. Having a lower cost of living definitely gives you a little more breathing room, which is important when starting out. It’s also a beautiful, fascinating part of the world. It was the best period of my life and I miss it deeply.
How did that period affect your practice?
Matthew: It gave me the confidence to be an artist.
I know you’re working on a new collection that feels like a slight departure from your usual style. Can you give us a hint at what’s changing?
Matthew: The new collection is rooted in ideas around alcohol and all things associated. I’ve been experimenting with more black and white charcoal pieces, so we’ll see how those pan out.
You said this new direction has made you feel a bit nervous. What’s that tension like between comfort and creative risk?
Matthew: At the beginning experimenting is freeing, trying new things helps re-energise a love for creating again. But experimenting is failing, you’re figuring out what works and what doesn’t, but mainly what doesn’t. There’s only so long you can fail, or produce work you’re not proud of until you take it personally. My self worth is so intertwined with my art, that unfortunately it’s inevitable that when I don’t feel like I’m making good work, I don’t feel good. So trusting the process and trying to solve these creative puzzles has caused a little bit of nervousness.
You’ve said the traditional gallery model doesn’t really work for you. Could you elaborate on why that is?
Matthew: Where I am in my career in terms of price point and the time it takes me to produce each painting, it’s not really financially viable for me to give away the industry standard 50% commission to a gallery. I understand the glass ceiling this creates for me and I’m not wedded to being independent, but right now I’m enjoying it.
How do the economics of being a painter today, especially around time, scale, and pricing, influence how you think about representation and commissions?
Matthew: At the moment, I spend most of the year nervously working on a body of work I’m passionate about, in the hope that when it’s exhibited, other people are also passionate about it, which allows me to do it all over again. The plan is to repeat this for as long as I’m able to do so. I guess my economic approach is blind faith.
Do you think more artists should consider going independent, or is it something that depends heavily on personality and practice?
Matthew: Totally on the individual. It takes a lot of time away from art making which I do worry about, But you do gain a lot from it, for me autonomy is important, but I think others may hate this,
Last year you made the bold move to organise your own solo show, and it almost sold out. What motivated you to take that independent route, and how did the experience compare to showing with a traditional gallery?
Matthew: I’d had little interest from galleries. After looking online and finding some great venues available to rent in London, I naively thought I’d give it a go myself. In the end it did almost break me, but it was a good eye opener to how much goes on behind the scenes.
It was a gamble, but in those situations you’re forced to make it work, or at least do as much as you can until luck lends a hand. A lot of late nights with administrative/ PR work, which takes away from the art making is hard, but when you’re in that mindset you become obsessed. No one is going to be more driven to promote your work than you in those types of situations.
You’ve mentioned planning another self-organised exhibition this year. How are you approaching it differently this time around?
Matthew: Despite saying never again, here we are. Yes, I’m hopefully going to have another independent solo show this summer. The plan is to scale it back and try not turn into such a freak this time.
You spent a good chunk of last year building out a new warehouse studio. How has that change of environment impacted your work?
Matthew: It’s been a long and stressful process. As someone who enjoys watching home renovation television, I should have known better. I’m still finding my rhythm in this new, big space but having the additional room to work in is a privilege.
A lot of artists and creatives in general deal with self-doubt. Is that something you deal with?
Matthew: Every day, but for some reason I still feel compelled to make my art, it’s the only thing I’ve ever been sure of.
Can you walk me through your creative process from beginning to end result?
Matthew: I draw almost exclusively outside of the studio. After filling a sketchbook up, a theme or idea tends to emerge, I then hone in on that and refine the drawings, until I’m left with a selection of sketches I feel excited to paint. Then those sketches are the ideas that make their way onto canvas. But it always starts from a sketch.
How do you approach color?
Matthew: Pastel shades mixed with a bright contrasting colour seems to be my subconscious formula. But now it’s intuitive, I used to carefully plan the colours beforehand on the computer, whereas now I just look at the sketch on the canvas and go with my instinct. After years of mixing colour pallets you know what works for you and your style.
Outside of art, what’s something you’re obsessed with right now—maybe a hobby, a show, or even a food—that keeps you grounded or inspired?
Matthew: I’m trying to learn Swedish.
Ok Matthew, now to something totally different. In a parallel universe who would you be, and what would you be doing?
Matthew: Before deciding to go to art school I wanted to work on the gas rigs…. which feels wild now.
Can you tell me a story about a time when a connection with someone had a big impact on you?
Matthew: My art school teacher Vikki. She enthusiastically encouraged students to make work they liked, not work they thought people would like. This has stuck ever since.
What qualities do you find most important in the people you choose to spend time with?
Matthew: Humour.
Anybody you look up to?
Matthew: Willehad Eilers.
What motivates you?
Matthew: A healthy-ish dose of insecurity.
How would you describe a perfect day?
Matthew: A productive day in the studio and taking my dog somewhere she likes.
Alright Matthew, I always ask these two questions at the end of an interview. The first is: What’s your favourite movie(s) and why?
Matthew: Parasite or Inglourious Basterds.
The second is: What song(s) are you currently listening to the most right now?
Matthew: Lukas Meunier – Wir