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Chris Natrop

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  • Into the Silver See-Through image 1
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  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006
  • Into the Silver See-Through

    30 x 19 feet  Ι  tape on cut paper with stainless steel nail supports   Ι  2006

exhibition history

  •  Fall 2006  Ι
  •  Solo Show  Ι
  •  Bank, Los Angeles, CA

description

OBSERVING INTO THE PHYSICAL

vertical interactions

Traveling parallel to the interstate, a hanging-garden spills from an overpass, brushing the speeding cars below. Long sweeping vines kiss the drone of persistent traffic, momentarily disrupting the incessant monotony. Seedpods explode overhead releasing its snowy contents into the wind

horizontal variations

A glint of speeding chrome pulses through arteries breaking through the sea of shabby plainness, buzzing facades streak by, and flashbulbs explode against a fleeting glitterati

thermal detonation

Months after the last rain, the hot Earth bakes, its ìfirst greenî having long since given way to pale, dusty tinder-straw. Small, warm-blooded lizards dart about. Brown spiders produce vast expanses of menacing gossamer webs, glistening diamonds in the heat. Melty asphalt crumbles underfoot, glowing red-hot orange. Strange, waterless plants push themselves out of the cracks, reaching for air.

temporal distortion

Everything that has a beginning has an end. Once a specific parameter is set, time unfurls like a flying carpet. Smooth waves of paper blasts forward in continual motion, setting pace, gaining entropy. Florid interactions give rise to explicate formations. As time draws to an end, work settles in repose: a final

 

EMPTY PERCEPTIONS

We perceive our surroundings using our senses, defining the world by its obvious physical characteristics. We can see the separation between individual objects, knowing there is space between things. We perceive this space as being empty with only distance in between. The physical distance, however, that defines separation also creates an inherent relationship. The multiplicity of voids and pressures that subdivide things through separation also interconnects everything. Relationships are built upon the varying levels of separation, allowing things to become interlinked despite distance. If we adjust our perception to sense the actual physicality of space, the borders of solid objects will begin to define emptiness as an actual thing. The boundaries between objects and emptiness begin to dissolve if we adjust our perception to sense the true physicality of space.

© 2010 Chris Natrop :: all rights reserved

Chris Natrop

  • WORK
  • VIDEO
  • MULTIPLES
  • news
  • curriculum vitae
  • statement
  • contacts
  • catalogues
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© 2010 Chris Natrop :: all rights reserved