Artists, Art, & Story: A Moment in Time, 2018

I’m delighted to be part of this collection of stories from artists that share events and their thoughts that led to a work of art they created.

The painting I’ve written about was “Prehistoric Violence” a mixed media piece 40” x60”. Typical of many of the mixed media pieces I make, the imagery and surface evolve together. There is no preparatory drawing. I searched for the edges of this figure within the reaction of paint to sand, water to paint.

Editing what didn’t say what was true and highlighting what brought the image closer to clarity, I carried on that way until I saw her.

The story is about her and the thoughts I had about how she might have lived.

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Nude Art L.A. Event at Cooper Design Space

I am very pleased to have paintings from my “Bodies in Motion” series included in this year’s Nude Art L.A. Event at the Cooper Design Space in downtown Los Angeles.

There will be painting, sculpture, performance and fashion on two days, March 29th and 30th. Tickets are available through the link below.

Hope to see you there!


https://bit.ly/2HZ7se0

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The Brush Off

I’ve been fortunate enough to be asked by the very talented photographer Jeffrey Sklan to be one of the subjects in his book of artist portraits titled “The Brush Off”.

He took a lot of photographs, but the time just flew by in the bat of an eyelash. Because it was fun. I don’t know which of the images taken will be used, but this was my favorite.

Being photographed is a strange thing. As a painter, you spend a lot of time alone, looking, searching…painting, listening to what the image is saying. Having the roles reversed is tough.

I don’t know if most artists start out introverted to some extent, or the work induces it. Social media has forced me to speak into the camera, share images of myself all of which has been very challenging.

Two years ago I think this shoot wouldn’t have gone as well. Much credit goes to Jeffery for putting me at ease as well as the gentle vibe of his assistant and daughter, Marina Sklan.

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Bombay Saphire Artisan Series

So excited that my painting "City" was selected as in the semifinals for The Bombay Saphire Artisan Series, Los Angeles region. The piece will be on a show with 20 others in October. I will post details.

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Empty Mirror

Very pleased my paintings were selected for inclusion into Literary / Arts Magazine, "Empty Mirror".

Memory of Place: 8 paintings by Nathalie Tierce

I start with ripping apart issues of Architectural Digest and create dozens of collages very quickly that I make to capture a certain mood. From these compositions, I select the few that I'll develop into paintings. These are the paintings that make up "Memory of Place".

Video of Paintings Using Textured Ground

In addition to my paintings that start with a collage, in the "Decomposition" series I work in a more process-oriented way, letting the materials and surface dictate the way I'll represent a particular subject. 

As these pieces are heavily textural, the best way to experience them is to walk around them, so, I've made a little video so that you, the viewer can get a better idea of how the image changes as seen from different vantage points.

Where A Painting Starts

The painting "False Self" began as much of my work does, a serious game of trying to catch something out of the corner of my mind's eye. Chasing the edges of what that thing might look like through concentration turns into mental staring, an activity that does little but makes it run away from me.

My method around this is to create simple versions of what I'm after as quickly as possible using collage. As I'm shuffling shapes and colors around each other, it's a knee jerk reaction to whether it works or not. 

A few hours later and many, many attempts later, I might have a handful that intrigues me. Typically I will develop three or four into paintings at a time. 

The 2" x 2" collage for "False Self" looked like this: 

I knew when I first saw it; it was part of "The Hapless Creatures" series which deal with figures that are more like symbolic monuments on a landscape. Somehow the space around them becomes an extension of their own helpless, often faceless selves.

The forms to the left of the composition felt like it was the primary character in the story. The black shapes and arcs to the right were the vibrations, shadows, something being emitted by the figure that was to be, I wasn't sure how.

I blocked in the colors and silhouettes.

Slowly, I began to discern who or what was going to dominate the landscape. The dripping, shiny forms pouring over the green were crucial to the piece, I loved the creepy, glossy quality of it.

Although I loved the shapes to the right of the figure and the pointy forms jutting towards it, the black felt wrong. It was detracting from the figure. Because gravity and traditional perspective aren't relevant in many of my paintings, the forms on the upper right now were casting shadows on an upright floor. 

As delicious as the red cubes in the corner were, they were starting to be at odds with everything. They had to go.

With that red cube removed, I began to see the edge of the green effigy start to take shape. It also appeared as though even the figure couldn't see; it was staring at something, this is when I added the oval mirror.

It's somewhere in this process that the name of a piece pops in my head.

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Paintings Find Home with Family

Sometimes things just fall into place. A wonderful Spanish style home in Los Angeles owned by a family coming to the end of a tough renovation were ready to put the finishing touches on their home.        

    They made a visit to my studio in search of a painting to be the focal point of their living room. Initially, they choose the painting "Interior" for that spot.

Once we got "Interior" into their home we realized that it was meant to live at the head of the dining table. Everything about it melded with the feel, colors, and texture of the space. Even the weave of the placemats casually placed on the table seemed to have a rapport with the brushwork.

They wanted to see "Wild Thing" for their living room which worked perfectly. An eclectic mix of contemporary and classic furnishings, the wild texture of the art piece complemented the metallic surface of the industrial coffee table. The hot orange spoke to the tones of the wood floor.

It's the best of the two worlds. My personal search for the combination shapes, shadows, and lines that give outward expression thoughts to the in my head finds its place in an environment that seems like it was waiting for it.

"Interior" Painting in Dining room

"Wild Thing" in Living Room

The Art of Ekphrasis

Very pleased to have my painting "Hapless Thing" included in the group show "The Art of Ekphrasis" at Blue Line Arts. The exhibit runs from January 13th to February 25th.

Hapless Creatures

 I don't have a plan per se when I start a painting. Sure, I do studies and collages but I'm looking for a place that looks like a feeling I have in gut. I don't really know what that looks like in the beginning.

When the piece starts to feel "right" I get a sense of closing in on it. Using different methods for getting there I don't have complete confidence I've arrived until the painting I'm looking at gives me a certain jolt.

Doing a series is more of that same process. I'll finish a painting that doesn't look like the past 10 or fifteen and think, "where the hell did you come from?" and go on to paint something else.

Usually, after a while, another will follow that looks like it's related to the last, it's there, certain similarities start to make themselves apparent.

"Family Portrait" Acrylic on cradled wood panel

"Family Portrait" was one of those paintings about a group of people that made me look back at "Meeting" quite differently.

The amorphous, dreamlike landscape and the tension between the figures made me understand it was a new suite of paintings. These described the emotional space around a sole being or between a group. Some of the quasi-human like forms might be relatives, lovers or opponents.

"Meeting" Acrylic on Canvas

"Hapless Thing" Acrylic on Canvas

I suppose there's a bit of alienation that all the figures seem to carry. Maybe a bit more with "Hapless Thing". Stumbling around blind on three legs, I feel sorry for it.

 

 

Forbidden

Not wanting to go somewhere puts one's mind in a strange place before  getting there. What is seen and felt once there, comes through a filter of resistance. Even more peculiar are the impressions that manage to filter through.

Painting "Forbidden" Acrylic on canvas Nathalie Tierce

Painting "Forbidden" Acrylic on canvas Nathalie Tierce

This painting is the memory of shapes and colors that made it through.