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Thread as a medium has been used for centuries throughout all cultures; from decorative couture, to quilts and elaborate wallhangings. Traditionally used for graphic logos and text, a WW2 era chainstitch machine is Los Angeles based artist, Matthew Miller‘s tool of choice. He creates freehand custom imagery and text meant to engage modern viewers through a vintage vessel. With a background in design, this often includes more complex content including detailed portraiture, historical action scenes or abstract ideations.
Creating something handmade with an aesthetic value, as a worthwhile pursuit, may be traced to parental careers; horticulturist father and artist mother, leading by example. The focus always remains on composition, color and balance. While attempting to pique interest in edgy, incongruous ideas and imagery – or Matthewisms.
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Hi Matthew! It’s a pleasure sit down with you. First question that I always ask. How does a regular day look like for you in Los Angeles?
Matthew: The pleasure is mine my friend. My regular day starts with me waking up with my tuxedo cat on my chest and my lovely wife to my right. Make some shitty instant coffee then sit down at the table. Answer emails, random project questions, brainstorm new ideas, check in on the homies and get stitching. Could be running small production for brands, custom commissions, packing for a corporate event or my favorite, a piece of mine that is already paid for. After that it’s having some dinner at home with the Mrs., stare at social media for a few and try and connect with other creatives local or afar. Throw on a horror film and fall asleep before it ends.
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 grew up in a small town outside of Buffalo NY. All I ever wanted was to get out to California and skate. (Which I did and quickly realized that was not in my cards) My high school was very small and basically just had preppy kids and farmer boys. I was a trouble maker that, for the most part, got away with everything. Drawing ornate cursive names for girls and tough guy graffiti names for boys. Lord knows how toy they were but at that point, I had no reference or community for that. I always wanted to be cool with all different groups of people.
With that in mind, has your parents’ careers in horticulture and art influence your creative journey and choice of medium?
Matthew: My pops owning his own business made me realize how important it is to have a strong work ethic. I used to hate having to come home from school when I was 13 and go to work at the greenhouses with much older people, that I couldn’t relate to. I hated that shit but looking back I’m sure that helps me work hard today.
My mom is a watercolor painter and worked in a frame shop and gallery for years. I thought that was the coolest shit ever. Having a skill, meeting other creatives and getting paid for it. Seemed so romantic. Little did I know how it really goes. There isn’t anything romantic about being and artist that can’t even afford toilet paper. I am so lucky with the genes that my mother gave me to be creative and the love and support I have today from them.
Do you remember how and when you got introduced to chainstiching and embroidery? And who taught you how to use the machine?
Matthew: I was introduced to chain-stitching by a gentleman named Jason Redwood about 9 years ago. In my book, he is one of the big dogs in that world. We made some digital patches with my artwork together and then have kept in touch since then. I thought the patches were chainstitched when they were made. Like most people, I had no idea there was a difference.
At the time I was passing out my resume to anywhere that was hiring and happened upon a shop called Lot, Stock and Barrel. A vintage shop with a chainstitch machine and tailor in the back. Passed in my resume and got a call back a few weeks later to work there. I was was lucky enough to work next to a gentleman named Matias that had been stitching for 25+ years. To have that wealth of knowledge next to me was a true gift. I worked there for 8 years meeting some of the best people I have in my life and was able to learn from some of the best.
Same thing with airbrush…
Matthew: The complete opposite for airbrushing. I just picked up a machine and used it. Can’t say I’m self taught because I haven’t taught myself anything with it yet.
So what is it about chainstiching that makes it your prefered medium of expressing yourself?
Matthew: Well, luckily I fell into it. After stitching for a few years, I realized this was somewhat of an untapped medium to go into realism with. Anyone can pick up a brush or a camera at an art store. It’s a little tougher to pick up an embroidery machine.
Can you tell me about your choice using a WW2-era chainstitch machine as your primary tool?
Matthew: This is just what I learned with. Some of these machines date back to the late 1800’s and are still used today. I love to use the older machines because that’s what I am used to. But, I have used some of the new rigs and they work just fine, just not quite as smooth. I sometimes think people rely on talking about their old machines more than their work itself. I don’t care what machine is used, as long as the work is proper.
How do you approach balancing modern content with the vintage aesthetic of your medium?
Matthew: I was scared to do this for a long time. Simply because I hadn’t seen many people do it and it is very difficult. You usually see chainstitch imagery as western motifs or bold lettering biker jackets or American traditional tattoo imagery. I had a client years ago ask me to stitch a realistic Rottweiler. I told them I don’t know if I could do it and if it didn’t work they didn’t have to pay. Lucky enough I made it work and I only want to push it more on each piece. Felt like I sort of found my pocket.
Would you consider yourself a nostalgic person?
Matthew: I find myself becoming more nostalgic as I get older. But I guess that makes sense. What the hell are you going to be nostalgic about when you’re a kid.
I know that around 2017, you had a stroke and a blood clot. Can you tell me about that experience? And how has it changed your perspective on life and how you approach certain things.
Matthew: Yes, that is a true story. As an experience, well, it was absolutely terrible. I could not see straight and didn’t know for sure if I ever would again and not to mention could have died. I always thought as long as I have my right hand I will be fine. Fuck that, you need your eyes more than anything. When I asked the doc how long this would last he said, “2 months, 2 years we don’t know.” I immediately said to myself, absolutely not I will have my vision back within the month. And I did. The power of positive energy and mind does work, that I guarantee. I don’t know if it necessarily has changed my perspective or the way I do things today other than just being incredibly grateful I am able to keep going as “normal”.
The only plus side of the whole ordeal was that they needed to close up a hole in my heart to prevent any future blood clots. I was skeptical of at first, until I asked the doc what was used to close the hole. He responded, “GORE – TEX”. So as I respond to this question now, I do so with a literal GORE CORE.
What role do historical and action-based themes play in your work? Do they serve as commentary or purely aesthetic explorations?
Matthew: They started as aesthetic explorations but have now turned into commentary somewhat recently. It’s become important to me to tell a tale or a joke in my work.
So what do you look for when choosing your next motif or character?
Matthew: Damn good question. For my personal work, a new idea or jumping off point can pop up at any point. Whether that’s from an old movie, walking through an antique mall, driving in LA looking at different signage, music or just a random conversation could spark an idea. I don’t know when it will hit me but it always does. I am like a visual inspiration terminator. Sometimes I wish I could turn it off.
Can you walk me through your creative process from beginning to end result?
Matthew: Once I have somewhat organized my references and topic I start to collage imagery. I try and keep this as analog as possible. I am a collector of all types of oddities which helps feed the creative beast. Once Im happy with the design, I scan the collage or drawing into my computer and then print it out on transparency paper. This gets taped onto whatever fabric, felt or garment I want to use. Then under the machine it goes. I stitch right over the image and freestyle all the color blending and line work. I usually go color by color, filling up each section. I will knock out the detailed sections first, the larger plains of color. Once the embroidery is done I have to tie down every thread to lock them in; this is the final step. I like to leave it all to the end because it is almost like a reward to see the image get cleaned up and finally come to life. For most of my pieces there are hundreds if not thousands of these tie downs.
Can you also tell me about your use of symbolism?
Matthew: That goes back to the nostalgia question for me. Any symbols I use are usually from my teenage years I’ve realized. I grew up going to church a lot, hence the use of religious imagery. I always liked the scenes on the stained glass and to be honest, probably how violent it was. Also, my parents would usually take me to McDonalds after. The other logos I use are from brands I liked but couldn’t afford or think that I could pull off.
How do you approach color?
Matthew: Color has always been tricky for me. Slightly because I think I’m a little color blind. Before stitching I did a lot more ballpoint pen drawings. This felt like such meditation because you are limited to black, blue, or red. This eliminated having to make too many decisions. With chainstitching it’s nice because the thread colors are already there for you. You don’t have to mix them like with paints.
So with what we just talked about, what are you hoping to convey?
Matthew: That is an ongoing question for me. I try and convey different emotions or thoughts in each piece. One can be pure cuteness aggression and the next can be pure aggression.
In a parallel universe who would you be? and what would you be doing?
Matthew: Nobody and nothing. I don’t like to think in false realities.
Can you tell me a story about a time when a connection with someone had a big impact on you?
Matthew: I mean many people have had big impacts on my life but three that stand out are… Shit, this first is my mother. She had a studio in the first house I lived in. It seemed like such an incredible space and I always knew I wanted that.
My first Art teacher in elementary school Mr. Ortallano. He was the first person to introduce me to Charles Schultz and always had weird collectables in the back of the classroom that intrigued me. I still remember his signature and have copied the way he did his double L in his last name to this day, I haven’t thought about that in a very long time.
When I was a teenager my mother introduced me to an artist named John Dyer. I ended up helping him for a summer. More so with chores and shit around the house but we would just talk art the whole time. Me a 16 yr old and a 60 – 70 yr old man, talking about Piss Christ and Christoper Burden. I was blown away.
What qualities do you find most important in the people you choose to spend time with?
Matthew: Creativity, honesty, good work ethic, similar interests usually help. I was raised to look for the good in people. This led to trouble because I found myself hanging out with just the worst folks trying to convince myself that they were good people because they bought me a burrito a year ago but then stole money from me that day. I had a boss back in San Francisco tell me, “Always look for the bad in people.” This outlook may seem a bit dark but definitely helped me turn my life around.
Anybody you look up to?
Matthew: Shiiiit so many people. My friends, my wife, ,my family, any decent vandal, any artist that progresses their style or plays with different mediums of art.
What motivates you?
Matthew: Failure
How would you describe a perfect day?
Matthew: Waking up with my tuxedo cat on my chest and my lovely wife to my right. Go get some tasty coffee then sit down at the table. Check in on the homies and get stitching. Stitch some personal pieces. Stop by the store for a bottle of Pellegrino and a scratch off ticket. Win $100,000 off that scratcher. After that hit an antique mall and find some diamonds in the rough. Hit a nice seafood dinner with the Mrs. Head home, put on a horror film and fall asleep before it ends. Not too too far off from my regular day other than the $100,000.
Alright Matthew, I always ask these two questions at the end of an interview. The first is. What’s your favorite movie(s) and why?
Matthew: My favorite movie always changes from week to week. As of right now my favorite is a Japanese horror called “Audition”. A slow burn with a lot of twists and turns and a damn fine ending. I’m a sucker for any movie that was shot back in the day in San Francisco as well. “The Game” is a great one. Just heard of a film called “Eye of the Cat” that was shot in SF in 1969 about some evil cats or something. This could very well be my next favorite movie.
The second is. What song(s) are you currently listening to the most right now?
Matthew: Well, I literally have headphones in my ears for about 6-10 hrs a day 5 – 6 days a week so there is a lot. Mostly hip hop, funk, and oldies. I have been trying to get into old house and electronic music but haven’t cracked the code yet. If anyone has any recommendations please let me know. Right now I’m on Freddie Gibbs, Larry June, Westside Gunn, Kanye, Mac Dre, Superbad Solace, MF DOOM, Dilla, and Nas. Ride Like the Wind by Christopher Cross always gets my juiced up. As I’m answering this question I have “Wu for the Children” by Nas in my ears.