EXHIBITION: Nathan Redwood at Jaus, Los Angeles


Nathan Redwood, Curated by Carl Berg
November 19, 2016 to January 15 , 2017
at Jaus Gallery (call before for openings)

Untitled 2015 Acrylic on paper 30 x 22 inches
Untitled – 2015 – Acrylic on paper – 30 x 22 inches
Untitled 2015 - Acrylic on paper - 30 x 22 inches
Untitled – 2015 – Acrylic on paper – 30 x 22 inches









Timeless and yet imbued with our times

Nathan Redwood signs a wonderful/disruptive solo show at Jaus and curated by Carl Berg. It is the sixth solo show in California of Arizona-based artist.

nathan-redwood-2015-30-468x640_172_bigWhen visiting, do not expect to enter in a comfort zone. More than Sixty-eight acrylic on papers -30 x 22 inches each – are hanged on two walls of the gallery.

At first glance the two walls look busy with colorful lines, curves, and inevitably the retina is called by a specific color, or design. This is when you discover that the shape you look at is actually a portrait, and the other paintings are also portraits. They look like some members of an assembly waiting for a little chat with you.
Then you play the usual game of back and forth to understand the technique, and the meaning. And the more you scrutinize them, the more you like them.

nathan-redwood-2015-33-465x640_183_bigThe Technique is impressively efficient:  “Many of the portraits reflect the artist’s recent experimentation with “removals” – his technique of removing partially dry wet paint from the surface – to propel chance or accidents and promote the appearance of new forms. The resulting effect leaves a surface residue like a hole or opening that expands the vocabulary of his process.

The construction of the design is very well balanced with both, the accidents as described above, and a rigorous and dynamic circulation of colors in order to compose a positive chaos. Positive because from the attentive lecture of every portrait emerge the new, a new visual idea or a new thought. It’s like the meticulous construction of the design would lead to something new that was unknown at first glance.











If the inner construction of the painting is timeless due to the technique and composition, the idea itself of chaos could easily translate the situation of the world in 2016.
The metaphor could be this one: Chaos can produce war and nothingness or, with a good “designer” it can lead to the new world.. And if Redwood describes an apparent chaos, his talent leads us to the best richness of the new.

Beatrice Chassepot – Los Angeles, December 6th, 2016