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NEVER BEFORE
EVER AGAIN
NATHALEE PAOLINELLI
Saturday, September 18th // Closing Reception // 7pm - 11pm
August 27th to September 18th 2010
Nathalee Paolinelli exhibits new paintings, sculptures and an installation
in the front window. Paolinelli’s works address formal systems within abstraction interpreting and reconfiguring them through a whimsical mode
of discovery. These diverse pieces employ a palette of saturated hues
that result in a dynamic arrangement of shapes and forms for the viewer
to engage.
Nathalee Paolinelli. Born in Prince Rupert BC. Living and teaching in Vancouver BC.
Graduated from Emily Carr (BFA) in 2004.
35 Dots - Composition One in Twenty,
Acrylic paint and gouache on wood
Left: Composition Ten, Gouache on Arches paper
Right: Lallygag, Acrylic and plaster on wood
Left: All About Ever, Gouache on linen
Right: Ruin, Gouache on linen
Too the Good, Gouache on linen
Installation Shot
Youth, Acrylic paint and plaster on wood
Youth, Acrylic paint and plaster on wood +
On Plinth: Porthole, Acrylic paint and plaster on wood
304 Days speaks with Nathalee Paolinelli about her exhibition via a
few questions posed through email.
304 Days: Your works suggest a playful approach to abstraction whereby you make paintings and sculptures in an intuitive mode and then
experiment with configuration and display post-fabrication. How does
this process inform your practice?
NP: I’m only working this way with the oval piece, Composition One in
Twenty, displayed in the front window. This process of recomposing a
piece is playful but more than that it helps me establish a composition, I
figure its much faster than making a painted study and slower than using the computer.
304 Days: The ‘sticks’ and the thick paintings in the back room of the
exhibition have a heavy application of paint and the works in the front
room and the window are flat. How did these different factures of paint
arise?
NP: I’m working on several different works at once, that way I never
have the feeling of “here we go again” I have different ways of working
some loose and fast and others more drawn out and meticulous.
304 Days: All of the works in this exhibition have a similar palette of
mostly saturated hues. How did you come to this palette selection?
NP: I don’t choose a palette before I start it comes as I go. I’m using colours I like. I don’t buy colours I don’t like.