Matthew’s work focuses primarily on memory and the gay gaze, emphasizing a gauzy and painterly realism that aims to evoke a feeling of imagery stored in the brain rather than perfect photographic recreation. His process is typically alla prima in oil on either board, canvas, or paper and most paintings are completed in a single session, dependent on size. Of late, Matthew’s work is slower and more considerate of references, aiming to use vintage found photography with no specific attribution of the gay gaze through history or referencing his own photography taken with a 35mm film camera. The fascination of late is capturing fleeting moments through a filter of either fogged mirrors, motion blur, or out-of-focus moments that describe feeling more than specific content.