Nathan Hylden, ‘Untitled’, 2013, TWO x TWO

For this recent series of paintings, LA-based Hylden established a system of distinct parts: a printed area with an image, a gestural silver wash, and a sprayed area. The images in the work (a stool, a fan) come from his studio, and in a sense, the subject of the painting is the act of making a painting.

For his recent series of paintings, LA-based artist Nathan Hylden established a system of distinct parts: a printed area with an image, a gestural silver wash, and a sprayed area. The images in the work (a stool, a fan, etc) come from his studio, and in a sense, the subject of the painting is the act of making a painting. Hylden explains: "Each painting in a way has this subtext of being a tool for making another painting. It’s indexed within the other paintings in negative space. In every painting, I change the order of the three steps – the image, the gestural painting and the spray. So in one case, the image will be really clear or in another the paint will seem like it’s separating the other two layers." The Whitney Museum and the Stedelijk Museum recently purchased works from this series. Hylden has been in group exhibitions at Museum Boijmans Van Beuningen, Rotterdam; Midway Contemporary Art, Minneapolis; and Kunsthalle CCA Andratx, Mallorca. His first institutional solo exhibition opened last summer at the Kunstverein, Hamburg.

About Nathan Hylden

Nathan Hylden creates paintings using rigorous conceptual processes that investigate the philosophical relationships between cause and effect, absence and presence, and emptiness and meaning. For a 2010 series, he devised a strict technical process and used it to create nine paintings: he painted his canvases a holographic gold, then stacked them in arrangements on the floor and sprayed the overlapping sections yellow, before finally stenciling black stripes onto each. The process resulted in nine similar paintings, intrinsically related by virtue of their genesis and aesthetic and yet each unpredictably unique. In a related series of prints, Hylden screen-printed aluminum plates with an image of a blank canvas—to him, a symbol of emptiness—which he then presented alongside actual blank canvases, revealing his conviction that the processes and materials of painting are themselves pregnant with meaning.

American, b. 1978, Fergus Falls, Minnesota, based in Los Angeles, California

Group Shows

2015