D.C.Atty
Electric Works
Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.
Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.
Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.
Electric Works
130 8th Street
San Francisco, CA 94103
vox 415.626.5496
fax 415.626.2396
info@sfelectricworks.com
Electric Works
Redwood's abstracted heads recall the grotesquerie and flatness of Jim Nutt or Glenn Brown but in a fluid frenzy recognizable by his own stylized intestinal version of brushwork. Most of the heads evolve independently through a different technical approach. In one figure, the eyes, nose, and ears are transparent swirling bold lines, in another they are poured half-removed puddles or literally paint drippings. The organic and vibrant colors seen in Redwoods dynamic landscapes carry through this new imagined cast of characters. These characters strike an alternating balance between abstraction and representation. While his previous works bounced between the narrative and the construction of the narrative, On A Neck delivers a personalized vision of the portrait.
Redwood's approach to the figure mixes with popular motifs in contemporary painting such as centrifugal composition, visual puns, dark brooding expressionism, whimsy, and the portrait as icon. His figures seem to melt, float, bulge and glide across his glass-like gessoed canvases. The relevance of historical influence abound throughout the seventeen small works on paper and canvas. In these scaled down images a more intimate, biological mark invades the portraits not seen in his previous larger works.
Nathan Redwood's work is held in numerous private and public collections. He has exhibited extensively from the Neuberger Museum of Art (New York), the Torrance Art museum (California), at TENT Centrum Beeldende Kunst (Holland) and the San Jose Museum of Art (Forthcoming). His work has been featured in, among others, The New York Times, The Los Angeles Times, Art In America and US Art, and the forthcoming issue of McSweeney's Quarterly Concern. On A Neck, Redwood's second solo exhibition with Electric Works will be on view from September 11th through November 7th, 2009.
Electric Works
130 8th Street
San Francisco, CA 94103
vox 415.626.5496
fax 415.626.2396
info@sfelectricworks.com