The Art of Nathan Oliviera

I do not encounter at modern fraudistry as a unidimensional experience, continually in contest with itself, devouring itself a plot of ground for popular society to play. I rather believe in an art that layers time upon time, an art that simply reaffirms our presence and the discernment of our existence on this priming coat In this respect I see my art as simply a present-day(prenominal) link in a chain to those who have preceded me I simply want to be a part of a continuous resonance. - Nathan Oliveira\n\nThe smoky, obscured atmospheres in most(prenominal) of Oliveiras lap sum up to their soul of mystery. And, as always, the identities of the objects in the pieces are withheld. By presenting fragments of what faculty be tribal artifacts and relics much(prenominal) as amulets, vessels, and tools, or abstractions of merciful figure within repeal spaces, Oliveira seems to be asking his viewing audience to engage in an grotesque excavation and reconstruction of his c ompositions. His work may convey anything surrounded by preciousness and fragility to emit brokenness, but we can scarcely guess at what barely lies within these illustrations.\nI adore the way in which Oliveira treats his subdue matter, but particularly wonder his ability as an artificer to stretch himself to create in various mediums and scales, as well. done his work Ive acquire to never confuse sizing with importance. The intensity of expression in some of his relatively small works compete, if not trump, the design of some of his larger paintings without sacrificing informality a true will to his fertile imagination and irrefutable ability to impact through with(predicate) composition versus size alone.\nThe paintings go down many layers of meaning as the series to each purpose evolve from his small predatorial raspberry paintings to his larger works that roughly resonate with the curvature of our very(prenominal) world. I think the need idea behind these portraits, especially those involving birds, imply a sense of freedom in Oliveiras case, artistic freedom and, ma...