In the series “Memory of Place” paintings, Nathalie Tierce creates a universe without an up or down nor fixed horizon. The forms that inhabit it are from the lexicon of architecture, gritty surfaces convey building materials.
Walls, roofs, twist, turn, float or hover. Vantage points are skewed. We enter the painting to be thrown to the side. Textures are relatable, colors emotional, but somehow there is no faith in gravity…. This universe may just spit us out. Tilted staircases promise to bring us somewhere. Getting to the top seems possible with the mind’s eye, the body may not make it.
Paint is manipulated through masking as though we’re seeing through parts of something, drips that may tell us which way the ground is but doesn’t. Line leads us to places that are perhaps the way out but doesn’t tell us where we’ve been.
In her “Decomposition” series, the physical medium of the paint is mixed with grit, sand, coffee, twigs. Its very nature seems to be in flux, scratches in the painting’s surface co exists with something as ephemeral as dirt rubble. The raw texture operates simultaneously with shapes that are dissolving as a part of a disintegrating memory.
More often than not, the viewer is the only person in these disjointed buildings. The appearance of the figure as in her “Hapless Creatures” series is used to convey their palatable alienation with their environment. These solitary beings usually alone, function like monuments on a horizon. In the series "Bodies in Motion" the body becomes the original structure that our souls inhabit, the symbol for our connection to the physical world.