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Nathaniel Mather has been producing colorful, whimsical and thought provoking art for over 20 years, with a unique style that combines his love of color and texture, and a passion for telling a story. Nathaniel's images reflect his joy and ability to illustrate emotions and concepts. Expressive painterly, mixed media paintings composed with a graphic flavor available for editorial, advertising, children's books, book covers and corporate market.
Three things motivate and shape my work: pure pleasure, challenge, and the attempt to engage in a visual and critical dialogue with other painters, past and present. The pure pleasure I derive from painting is just that: complete and utter expressive gratification, akin to faith in its steadfastness. The challenge comes in many forms, particularly in not knowing exactly where a work is going to go. My conceptual dialogue may best be understood in the context of a child who may be structured and guided by his parents when he is young, then follows his own path, independent of his parents but still shaped by them as he grows I was shaped and guided by those before me (Motherwell, Diebenkorn, and Pollock, among others), giving me a solid foundation—studying, copying, experimenting, then working more independently. As this relationship grows, it allows me to follow my own path, all the while enjoying their continuing influence through an evolving dialogue with them, as well as with my contemporaries working in the same bent. My work is an expression of this dialogue, a spontaneous intuitive reaction that is itself a sort of conversation with my medium. I agree with Jackson Pollock when he said, “I want to express my feelings rather than illustrate them.” My physical reaction comes from my intuition, both ordinary and esthetic. Clement Greenberg clarifies that distinction in his essay Intuition and The Esthetic Experience: “The intuition that gives you the color of the sky turns into an esthetic intuition when it stops telling you what the weather is like and becomes purely an experience of the color.” The work in this show challenges viewers to use their own intuition to experience the essence of these essays of a silent medium.
One of the most arresting visuals for me is an old wall layered with papers, graffiti and text- our modern hieroglyphics. I try to re-create this beauty in my work, the layers of time and decay are what interest me. I hope that the person viewing my work will linger, trying to discover hidden imagery and text and depending on their life experience, find their own meaning or interpretation. Found images and objects function as signifiers of both individual and collective experience. By incorporating materials that are linked to the realities of daily life, I strive to establish an immediate identification between the viewer and the work of art. I am exploring the place between “high art” and popular culture, text and image, figuration and abstraction, past and present , and two and three-dimensional space. I begin working without a final vision in mind: I use collected materials and allow pattern, texture, color and structure to emerge organically
Based on the ephemera of modern urban life, my paintings explore the things we look at each day without seeing. Though everything is game imagery-wise, I am drawn to advertising images and glyphs, the visual shorthand of contemporary culture. As a painter, I have as an objective to explore the subtexts and uncover the possibilities of seemingly innocuous marketing imagery. The chief ambition of art, I believe, is to change the way we look at the world around us. Bright colored blocks compose my acrylic paintings. I enjoy the look and feel of loose, graffiti-like marks, text, and “noise” against these vividly hued planes. Usually I paint with layers, with each new layer showing a bit of the one beneath, either by transparency, an unpainted “window” area, or by a scraping away of recent layers. Often this process yields unexpected colors and forms. Similarly, I use corrugated cardboard, bubble wrap or other common materials to apply paint in tightly striped registers, creating texture, space, and still more unintended forms. Played against this pictorial depth are images that are hard edged and, at times, almost aggressively flat. A vibrant tension is produced by the interplay between these forthright, graphic forms and the painterly, almost old world concern for surface qualities
Allen Wynn's tough, graceful sculptures represent the inner beings of working people that he has known throughout his life. They are usually women, sometimes accompanied by a child whose role is that of a clear-eyed observer. Occasionally he will add a bird or a fish, not as an overt symbol but as a simple evocation of rural existence. The figures are reserved yet accessible. Suzanne Deats, Santa Fe arts writer Often mistake for bronze sculptures, Allen Wynn has developed a unique process which incorporates wooden frameworks, paper pulp from natural and recycled materials mixed with sawdust, resin, and sand from the nearby Red River. He applies thin layers of this substance to the armature, adding and subtracting and modeling until the contours and the texture are right. In the final step, Allen applies multiple coats of paints as well as resin to give each piece a unique patina and as well as a protective seal.