Nathan James
Chosen to feature in Stuart Semple’s (remember him?) curatorial debut ‘Mash-ups’, which took place in London last summer, Nathan James produces vivid paintings with day-glow slashes, cheeky club-kid references and pop-influences including cartoons, text and graphics. A collision of two worlds where plastic cartoons juxtaposed against photo-realistic portraits, these paintings are an assault on the senses - a veritable feast for the eyes.
Taking inspiration from mass media and popular culture is certainly nothing to shout about; Warhol’s perpetual repetition of Marilyn Monroe’s face and Lichtenstein’s imagery, borrowed from popular advertising are just the tip of the proverbial iceberg.
Artists who take inspiration from glossy modern culture and contemporary popular icons can all too often end up with yawning soulless canvases that are themselves the epitome of the celebrity driven culture they seek to represent, but James successfully explores mass media images that simultaneously fulfill their somewhat empty promises of glamour and enjoyment whilst relinquishing certain aspects of humanity.
James’ earlier work is much more muted, and includes surreal portraits of mundane characters who appear to be almost super-imposed onto staged backgrounds - uncomfortable characters in postcard settings. An air of unreality runs through much of James’s work, with characters locked in awkward embraces and ambiguous poses. Stories are merely hinted at; much is left to the viewer.
Combining a plethora of techniques, including (but not limited to) traditional painting, silk-screen printing, and stenciling, James takes inspiration from multiple sources- graphic design, vintage photography popular magazines, and youth culture. His most recent solo exhibition in London was entitled ‘Pleasure Island’, a reference to Carlo Collodi’s novel ‘Pinocchio’- a world where nothing is a it first seems…a fitting title for a artist who treads a fine line between the real and the imaginary.
Vicki Loomes
