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Sam Mattax

Dinner with Sue

November 13 - December 20, 2025

Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax
Sam Mattax, I think I'll call you Cotter, 2025

Sam Mattax

I think I'll call you Cotter, 2025

oil, oil stick and lead pencil on canvas

72 x 60 inches

Sam Mattax, Winters pan and a roaring fork, 2025

Sam Mattax

Winters pan and a roaring fork, 2025

oil, oil stick and lead pencil on canvas

72 x 84 inches

Sam Mattax, Dinner with Sue, 2025

Sam Mattax

Dinner with Sue, 2025

oil, oil stick and lead pencil on canvas

66 x 54 inches

Sam Mattax, Now we're both 29, 2024

Sam Mattax

Now we're both 29, 2024

oil, oil stick and lead pencil on canvas

72 x 60 inches

Sam Mattax, If by chance, please pull on down, 2024

Sam Mattax

If by chance, please pull on down, 2024

oil, oil stick and lead pencil on canvas

84 x 72 inches

Sam Mattax, Big Nance, Chap, and a couple baby leopards, 2025

Sam Mattax

Big Nance, Chap, and a couple baby leopards, 2025

oil, oil stick and lead pencil on canvas

66 x 54 inches

Sam Mattax, In the weeds with Frog and Toad, 2023-25

Sam Mattax

In the weeds with Frog and Toad, 2023-25

oil, oil stick and lead pencil on canvas

72 x 84 inches

Sam Mattax, Patty melts and elk pelts, 2025

Sam Mattax

Patty melts and elk pelts, 2025

oil, oil stick and lead pencil on canvas

78 x 70 inches

Sam Mattax, I try not to be, but I am a mess to me, 2025

Sam Mattax

I try not to be, but I am a mess to me, 2025

oil, oil stick and lead pencil on canvas

66 x 60 inches

Press Release

Fredericks & Freiser is pleased to present Dinner with Sue, an exhibition of new paintings by Sam Mattax (b.1995, Springfield, Missouri). In this new body of work, Mattax continues to develop a vision of abstraction that feels inseparable from the world it emerges from: visceral, layered, and distinctly American.

 

Working in thick sedimentary strata of oil, Mattax drags, scrapes, and rebuilds his surfaces until image and matter become one. These paintings feel unearthed rather than composed, as if pulled from the wreckage of memory, labor, and landscape.

 

Mattax’s painterly language draws from the gestural ferocity of midcentury abstraction, yet his sensibility is rooted firmly in the present. He updates Abstract Expressionism by dragging it through the wreckage of the American dream: the fairground tarp, the collapsing tent, the parking lot after rain. His forms hover between recognition and dissolution, remnants of optimism held together by the sheer act of painting.

There is an undeniable physicality here: paint that thickens into form, color that behaves like structure. But the power of these works lies less in bravura than in endurance. Mattax paints from inside the storm rather than above it, making sense of disarray through touch, rhythm, and accumulation. The compositions threaten to come apart, yet never do. They insist on coherence, not as imposed logic, but as a way to survive.

 

Mattax brings emotional conviction to a medium often treated with ironic distance. What emerges is not redemption but persistence: a language rebuilt from debris, direct and unsentimental. In a moment when abstraction often trades risk for atmosphere, Mattax reminds us that urgency still matters, even when belief falters.