CROWN

Paintings examine the boundaries between visual and non-visual perception through the union of Braille poetry and painting. Nachum has developed a procession which he sculpts raised Braille cells on the surface of the canvas.

Written by the artist, poems explore the conflict between the instinctive and the demands of civilization. Observers become participants and use multiple senses. Nachum sees the work as an “eye opener”, a vehicle to allow viewers to confront their own existential apprehensions. Subjects vision is often obscured, representing that man’s “blindess” caused by displaced values and desire. One recurring subject is the child with a gold crown covering his or her eyes.



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FEATHER WEIGHT

2016
Oil on Canvas
114 x 80 Inches / 290 x 203 cm




FLIP SERIES


Flip Paintings are conceptual paintings in which the work is viewed from the side that is typically obscured or considered the back of the canvas. A process which the artist refers to as “dematerialization”. The painted image now faces the wall, making it impossible for the viewer to see it. The raw canvas, stretchers and staples are now on display; on top Nachum sculpts the Braille text which illustrates the “invisible” image. In “Moonlight” 2019, the Braille translates into “A naked man dancing” describing the image depicted in oil. Viewers must use their imagination. Experiences are individualized as each viewer internally constructs a distinct image or scene, similar to what a person who is blind might experience reading braille. Nachum starts a painting and leaves the viewer to complete it, an experience used in conceptual art, known as “institutional critique”. The viewers response directly expresses cultural values of individual societies.

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MOONLIGHT
“A NAKED MAN DANCING” 

2019
Oil on Canvas
73 Inches  (Diameter)




INSTALLATION AND SCULPTURE

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MEMORIES

2011
Sculpture
108 x 50 x 60 Inches / 275 x 127 x 127 cm




MENTAL ROTATIONS


The experimental works utilize art historical elements, conceptualism, and interactivity to explore complex psych-visual factors like sensory substitution, hypnagogic imagery, internal representations, and mental rotation.

Nachum investigates visual perception by using himself as a conduit to create paintings that use self-referential content and media as a substitute for the imagined geometric form, which he refers to as the “idea”. These shapes serve as basic thought forms meant to evoke sensory qualities the artist wishes the viewer to experience such as weight, height, gravity, and the appearance of light as a material presence.

Once these initial shapes are complete, Nachum begins to work impulsively and without a plan, as he experiments with various materials and methods, utilizing memories, art history and photographs as stimuli while moving interchangeably between styles to highlight a mix of contrasting traditions and practices. He works alone–erasing, concealing, adding and subtracting–allowing his imagination and memories to take form. The layered detailed surfaces inhabit an uneasy space between narrative and abstract, revealing the animalistic qualities of the inner-self including aggressive, sexual, and spiritual impulses.

A method of reference for social constructionism through an abstract process based on reality, knowledge, and trans historical paradigms.

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ILLUMINAZIONE TRA LE NUVOLE

2019
Oil on Canvas
90 x 72  Inches



INVISIBLE CHAIR

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INVISIBLE CHAIR

2019
Chair
36.28 x 17.50 x 19.65 Inches / 92.15 x 44.45 x 49.91 cm




FIRE SERIES

Fire Paintings utilize Braille Poetry and Ash, Braille is sculpted onto canvas and wood frames are burned until charcoal. The paintings are executed with the participation of people who are blind, leaving fingerprints as documentation of human contact. Nachum employs the system of raised Braille cells sculpting them into rectangular columns across the canvas. As collaborators run their fingers from the frame to Braille, evidence of human interaction remains on the canvas. Nachum encourages people to continue to touch and interact with the work, breaking the barrier between viewer and “sacred object”. After repeated contact the work evolves and remains always alive. The interaction adds an element of performance; the artist starts a painting and leaves the viewer to complete it.

Using himself as a conduit Nachum blindfolded himself for 196 hours, a period of seven consecutive days. During this period he focused on painting and poetry. He experienced vivid and intense visual hallucinations and periods of complete and total darkness where he felt detached from the physical world. After the first day the hallucinations then became a constant presence. They began with flashes of light and color, and progressed into vivid landscapes, human forms and childhood memories. He describes the experience as spiritual and transformative. It provided him with a deeper understanding of his non-visual senses, and challenged him to offer a way into his work for people who otherwise may never “experience” a painting.

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SAFETY YELLOW
FIRE

2015
Oil and Ash on Canvas
76 x 54 Inches / 193 x 137 cm




FACES


The exhibit consists of five large-scale portraits in oil. The subject in these portraits are blind. The paintings are extremely detailed and precise, taking more than a year to complete each portrait. Once completed Nachum re-invites his subjects to paint themselves on top of the finished work. The highly realistic work in a sense will be “violated” by a primordial and expressive image; outer and inner visions collide in a unique and compelling form of expression. The intervention is a rebirth.

The process is the content and the finishing painting is a by-product of the experience. The works examine our identities subjective nature and how they are constructed.


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ROMEO EDMEAD

2015-2017
84 x 71 Inches
Oil on Canvas





SLANT CHAIR

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SLANT CHAIR

2019
Chair
31.54 x 20.70 x 30.59 Inches / 80.11 x 52.57 x 77.70 cm




COLOR BLIND

Color Blind is a series of experimental paintings based on Ishihara Color Vision Tests, used to evaluate color blindness. Images are formed by color field circles that function as “pixels”, contrasting colors and complex pictorial scenes invade the viewer’s space. Color field circles intersect with the visual content, form and figure to become one and the same, confirming that human perception is variable and considerably subjective.
Nachum applies an adhesive stencil to the canvas, and paints in oil on top. The stencil is then peeled from the canvas to reveal color field circles that disguise the complex imagery and act as color vision tests. The artist describes the act of peeling the stencil off of the canvas as peeling human skin off of flesh

Viewers interact with the work, in the attempt to discover the underlying content. Nachum paints scenes and images and disconnects them from their expected contexts, reducing them to color field circles. Nachum exploits the expressive power of form and color with an acrid sense of humor intended to envelope the viewer when observed.

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S3

2015
Oil on Canvas
73.5 Inches / 186 cm (Diameter)




ANIMALS

Using himself as a conduit, Nachum blindfolded himself for 196 hours; a period of 7 consecutive days. During this period he focused on automatic sketching and writing while he conducted a series of interviews with people who are blind. This challenged the artist to offer a way into his work for people who would otherwise never experience a painting. From his sketches and text, he developed a series of animal paintings, these paintings depict animals in new form. The paintings are a result of the conversations held with his participants. Nachum gained an empathetic awareness of the difficulty a person born blind may have contextualizing wild animals. The Braille text on each canvas translates to the dictionary description of the animal executed in oil. 

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“H” HORSE

2019
Oil on Canvas
91 x 79 Inches




BLIND

Paintings examine visual and non-visual perception. He sculpts raised Braille cells on the surface of the canvases. The fractured plane serves as a counter balance to the  meticulously executed images in oil. Embedded within the confines of a painting, are poems which reveal the artists internal conflict between the instinctive and the demands of civilization. The merging of painting and Braille poetry transforms oberservers into participants and requires the use of multiple senses. Nachum sees his work as a vehicle to allow viewers to confront their own existential apprehensions. He often paints figures, whose vision is obscured, suggesting that man’s blindness is caused by displaced values and desire.



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SELF PORTRAIT

2017
Oil On Canvas
91 x 74 Inches / 231 x 188 cm




BOY WITH A CROWN

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BOY WITH A CROWN

2019
13 x 4 x 4 Feet



SEA OF CROWNS

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SEA OF CROWNS

2012
Installation
240 x 480 x 240 Inches / 600 x 1200 x 600 cm