by Todd Camplin

If you are like me, when you visit shows, you like to pick up a card. I have folders full of cards
from past shows. Now and then I flip through them, make lists of artists, and I look some up on
the internet that still interest me. In my recent browse through my collection, I came across
the artist Nathan Green a few times. I noticed him, because I had just seen his work up at
Barry Whistler Gallery during their One Night Stand show and at the Goss Michael Foundation.
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I admit, it has taken me a while to come around to Nathan Green’s aesthetics. Last year, when
conundrum. I am not quite sure what to make of his painting work. Green’s objects seem like
clunky and awkward experiments, without some kind of  refinement or resolution.” I was still
skeptical when I saw Green’s curation of Failing Flat at CentralTrak. I was about halfway done
with a less than flattering write-up on the show, when I found my heart wasn’t in it. Something was
holding me back. I think my conundrum with Green was that I wasn’t completely seeing
his big picture, and part of me knew it. A few cards of Circuit 12 Contemporary helped me to
put Green in context. Circuit 12 Contemporary is one of the more unique galleries in Dallas,
because they offer a Chicago aesthetic sensibility spiced with Miami energy. When I saw
Green’s work during their Regional Quarterly Vol.1 CROSS TALK show, reflecting on the card
and some past pictures I was reviewing, I now see it was a good fit for him. Green never
attended the Chicago Art Institute, but I see a real kinship to some artists coming out of
that school.
Because Green is experimenting in such a playful way, I was caught off guard and a little
baffled by his intentions. I think he has tapped into this world where boundaries are blurred
between forms. Painting and sculptures have continued to merge into a hybrid form and
Green has been extremely nimble at navigating this trend. Because Green is exploring this
hybrid world, pieces can feel raw, unfinished like his painting Droplets at the UT show. The
work can feel damaged like Warm Skies SW at Barry Whistler Gallery. Green has even
constructed and then destroyed an art piece as performance. Green has a series of
Bacterio paintings and the Light-frame 410B painting at Goss Michael that captured my
attention. I can relate to these organic shapes that feel like bodies twisting and intertwining
in the Bacterio paintings. The objects colored bright green in wood frames make the hybrid
object Light-frame 410B an enigma that doesn’t feel too highbrow to unravel.
In the end, Nathan Green has taken me on a journey of self discovery regarding my own
boundaries of aesthetics. Although I am just beginning to appreciate his work, I am
confidently hopeful I will further enjoy watching Green develop as an artist.

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Installation View, Goss Michael Foundation, 2014  - (L) Big Box Bacterio (DEW), 96x132, 2014  
(R) Light-frame 410B, 98"x101", 2013
Bacterio Resist (YTG/ Drop Shadow) 48"x60", 2014