Nellie King Solomon

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Nellie King Solomon



The paintings are spaces where energy moves matter. They are experiences of the great western landscapes, interior and exterior terrain, the shock of unabsorbed events. Events double back to devour themselves. Momentum overtakes strategy. Land marred and poisoned is disarmingly beautiful and dramatic in its tragedy. California is a place where we are caught off guard, a place of gambling, chance, and change. I paint it.
Treasure Island West Bound, Trip ‘n fall again, Monster, Shafted, Oxy 10, Smokey, Bandit, Blindsided — titles are from TV, traffic, bubble gum wrappers, volatile economics, ecological disasters, seductive beauty.
I make the space in between things. I paint what I know is there but can not see. Empty space allows motion. Custom made tools and heavy mill mylar allow color to flow or pool without the scaled imprint of hand or brush. Liquid marks leave evidence of something having happened there. The slick paint attracts and repels like oil spills or hot toxic color fields: beautiful pictures of terrible things. The translucent surface allows the edges to disappear into the wall. The wall misbehaves to reveal a painting; the paintings are subversive architecture.