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