"he disrupts what has to happen"

Laura de Gunzburg
May 3, 2013 11:44PM

Full of meaning, Nathan Hylden’s work has an evident focus on the fluid and oscillating movement of light. This recording can be internalized as a metaphor of time, the passage of time in the studio. This movement and play of light and shadow is an artistic confrontation. Discretely, Hylden uses his work as a tool for personal growth. He explores emptiness with materials, subtle color, light and shadows. Emptiness is calm and secure to Hylden, who has complete and calculated control of his artistic translation. Nathan Hylden uses strict repetition and accumulation principles, changing the order of operations for each of his panels. He creates "variations within a systematic sequence", to continue Modern Art’s redefinition of a pictorial space. Correspondingly, this alteration in shift illustrates the visibility of his priorities and decisions. Nathan is extremely inclusive in his work, both representationally and philosophically. Many of his pieces make a direct reference to him by being the same height as the artist. 

Hylden’s artistic process makes me think of the way that a Photoshop program would function. Similarly to the digital computer software, when starting a series, Nathan creates a flatten base by preparing each canvas identically to one another. A layer of holographic gold paint covers each canvas. This gives a reactive effect as the artist moves around the painted canvas, reflecting shadows. Then the canvases stacked overlying each other, and the intersections as spray-painted yellow. This highlights the reflected shadows created by each of the images. Once the canvases are officially properly prepared, Hylden begins to approach each canvas individually, working with black paint and a stencil. His result is a striped like pattern. As a series, his works embody both a positive and a negative form, as each work is a starting point for the next one, and therefore a guide for each works in the series. This well thoughtout logic of his completely immerses the viewer in these conceit works. At first glance, the works seem very calm, secure and approachable, but once you take a step back, you realize the energy represented is one of a complex individual. His approach is very conceptual in the way that he disrupts what has to happen. 

Laura de Gunzburg
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Jenna Gribbon, Luncheon on the grass, a recurring dream, 2020. Jenna Gribbon, April studio, parting glance, 2021. Jenna Gribbon, Silver Tongue, 2019