Blog Feed - Chris Natrop Studio

In the Fold

Mon, 13 Sep 2021 17:44:00 GMT

September 9 to October 30, 2021

NANCY TOOMEY FINE ART
1275 Minnesota Street, San Francisco

Nancy Toomey Fine Art is pleased to announce an exhibition of works by Chris Natrop titled In the Fold, on view from September 9 to October 30, 2021. The gallery is located inside San Francisco’s Minnesota Street Project, 1275 Minnesota Street. Gallery hours, for now, are Thursdays, Fridays, Saturdays, 12pm to 4pm, and by appointment–please contact nancy@nancytoomeyfineart.com or 415-307-9038.

The public is invited to meet artist Chris Natrop at the gallery this Saturday, September 11, from 5pm to 7pm.

Chris Natrop, Sunset Crystal Fold 3, 2021
Acrylic on cut paper, 36.5 x 40.75 inches (framed)

Chris Natrop’s studio practice is centered on the act of cutting paper. Executed free form and exclusively with a knife, it has evolved into a stream of consciousness drawing technique, a meditation of repetition and reduction. Immediate cutting decisions and the intentional lack of pre-planning allows for the discovery of ambiguous silhouetted imagery that surface as interconnected landscapes. Individual cut paper objects stand alone or are fabricated into other two-dimensional formats. All elements come together in various combinations, creating larger multifaceted installations: worlds in which light, shadow, and form coalesce into a stable equilibrium.

The exhibition In the Fold contains three distinct but interlinking parts: Sunset Crystal Fold, Reflector Specter, and Matrix Nouveau.

Chris Natrop, Sunset Crystal Fold 6, 2021
Acrylic on cut paper, 36.5 x 45.25 inches (framed)

Sunset Crystal Fold is a series of eight framed works consisting of cut paper and acrylic paint. These objects depict networks of organic and geometric formations within deep atmospheric color. Meticulous cutting permeates the acrylic and paper substrate creating a meshwork between substance and nothingness. The richly painted surface of hard-edged sprayed on color gives way to a reticulation of cutout voids. This interplay between delineated form and emptiness becomes the essence of the work with its overall composition realized by the select removal of the picture plane. The dismantlement of two-dimensions produces a depth within the flat object allowing light to pass. This produces a spectrum of background shapes with colorized shadows, a product of light bouncing off its hidden neon colored backside. Conducting in-studio crystal making experiments, Natrop played with the oxidized natural formations that took shape as the materials cooled. This playful jumping-off point generated and integrated the phantasms of nature into his art making process.

Chris Natrop, Reflector Specter Series, 2021
Polished stainless steel and acrylic, edition of 3

The series Reflector Specter is part of Natrop’s ongoing practice of incorporating aspects of previous cut paper ephemera into new types of sculptural projects. The outlines of countless knife cuts from previous work are captured from photos and digitally manipulated then fabricated into fresh generations of new works. Reflector Specteris a grouping of wall-hung sculptures with direct linkage back to original cut paper drawings created in San Francisco almost twenty years ago. Cut from thin sheets of mirrored stainless steel, the formation of these works belies their simpler paper origins. The original forms have been thoroughly tweaked and distorted to embody an enhanced sensibility, an apparition of bygone memories. Like hovering cloud formations, these flat sculptures cling to the wall in pseudo-bas-relief; their internal complexities a chiaroscuro of reflection and prismatic shadowing. These works manifest a shared moment in time, but always reflect the present instant.

Chris Natrop, Matrix Nouveau 1, 2018
Acrylic and glitter on cut paper, 50 x 42 inches (unframed)

Matrix Nouveau consists of acrylic and glitter on hand cut paper. Produced in 2018, these pieces incorporate a more free-flowing process. None of the paint or cutting was overly manipulated, allowing for more natural and spontaneous formations to occur. As juxtaposed with Sunset Crystal Fold, its composition is unstructured and amorphous where the other is rigid and crystalline.

Chris Natrop, photo by Patrick Grandaw

Born in 1967 in Milwaukee, Chris Natrop grew up in Hartland, Wisconsin and relocated to California after receiving his BFA from the School of the Art Institute of Chicago in 1992. Cutting is the hallmark of Natrop’s practice. Known for his immersive room-sized installations and large-scale projects, his unique cutting method evolved some twenty years ago out of the process of charcoal drawing. His idiosyncratic method, using an industrial utility knife on vertically mounted swaths of paper, is foundational to his unique ability, and a cornerstone to the broader cut paper movement in the art world today. Natrop has roots in San Francisco from the 90’s to early 2000’s where he lived and worked. His entire process and technique blossomed in his Mission studio which was featured in the local PBS program “Spark” in 2004. In the proceeding years, before relocating to Los Angeles, Natrop was a fixture at the Headlands Center for the Arts, having taken over the Bowling Alley Building as an Affiliate Artist where he mounted his first site-specific cut paper installations. He has shown his work throughout the US and Europe and has recently completed a series of commissioned public sculptures in New York, Dubai, China, Houston, and Los Angeles. In 2016 he completed site specific works for Facebook’s Playa Vista and Menlo Park campuses. In 2020 Natrop completed a major public sculpture commissioned by the County of Los Angeles. Natrop is a recipient of several awards, including the Pulse Prize at Pulse New York, and is included in numerous public and private collections.

In the Fold is Chris Natrop’s second solo exhibition at Nancy Toomey Fine Art.

Candy Bowl Reflection

Wed, 16 Dec 2020 00:58:00 GMT

Candy Bowl Reflection

New wall relief sculpture for Perla on Broadway, DTLA.

Reflecting Within Us is here!

Wed, 18 Nov 2020 21:05:00 GMT

Reflecting Within Us

My long-developing site-specific aerial sculpture commissioned by the County of Los Angeles is complete! Reflecting Without Us will adorn the lobby of Zev Yarloslavski Family Support Center for years to come.

Beauty In Lockdown Group Show

Thu, 01 Oct 2020 04:06:00 GMT

In curating the Beauty in Lockdown catalogue, a collection of pieces by artists represented by Nancy Toomey Fine Art, we were struck by the diversity of talent, as each artist utilizes mediums celebrating color, form, texture, and concept in their own way. Each piece exemplifies an individual artist’s practice. We invite you to take time out of your day to lose yourselves in these images, which will hopefully provide inspiration and solace. In the upcoming weeks, we will be highlighting a work by each of these artists.

This is a wonderful opportunity to explore, in depth, our artists’ fascinating inspirations and influences, and to connect more deeply with their creations. For some of you, it will mean revisiting a cherished artist’s work, perhaps someone that you have observed for a long time, and even collected. For others, we hope it will provide a delightful introduction to something or someone new that will resonate with you deeply.

We are happy to announce that 10% from the sale of any work in this catalogue will be donated to the World Health Organization, which needs our help now more than ever. We are grateful for your curiosity, your interest, and your support. Without it, the connection to creativity and the arts would not be possible.

VIEW CATALOGUE PDF

CHRIS NATROP, Matrix Nouveau 2, 2017
Acrylic and Glitter on Cut Paper, 44 x 48 Inches Unframed
$5,000

Executed free-form and exclusively with a knife, Los Angeles based Chris Natrop’s process has evolved into a stream-of-consciousness drawing technique that has continued to evolve and develop. The methodical, repetitive unintentionality of his drawing process results in color-washed paper forms that appear at once ethereal and organically chaotic. Shifting forms of pattern, shadow, and silhouette intertwine to become complex, unified landscapes. Agility and innovation combine to create delicate images of flora and fauna that immerse the viewer in a world wholly imagined yet entirely specific… More »

MIYA ANDO, Gekkou (Moonlight) November 4, 2017
Pigment, Silver Leaf, Arches Paper, 45.5 x 34.5 Inches Framed
$13,000

This work on paper entitled Gekkou, the Japanese word for moonlight, continues New York based Miya Ando’s exploration of the exchange and relationship between material and the evanescent qualities of nocturnal light. Comprised of silver leaf and pigment on Arches paper, they invite the viewer to recognize the fleeting qualities of light, and of time itself… More »

JUD BERGERON, My Pal Foot Foot, 2013
Slip Cast, Hand Glazed Ceramics, 12 x 6 x 6 Inches, Open Edition
$2,000

San Francisco based Jud Bergeron has been making these works for 10 years in a variety of materials from cast bronze, cast resin with automotive paint, and now ceramics. This piece was originally part of an installation for a show whose theme was fatherhood. Foot Foot is a generic, abstracted representation of a baby. There is a Danish saying about having children, “one equals one, two equals a thousand,” and this saying was the basis for the original installation that was completed shortly after Bergeron’s second child was born… More »

CASPER BRINDLE, Nectar, 2018
Acrylic, Automotive Paint and Resin, 48 x 48 Inches
$15,500

Los Angeles based Casper Brindle pushes the expressive possibilities of color while working within his boldly established pictorial structures. Though the materials he utilizes are industrial in nature (automotive paint and resin), the way in which he applies pigment in delicate sprays allows for subtle chromatic gradations. Pairing together unusual colors results in unexpected harmonies that vibrate with radiant energy. The inherent properties of the materials Brindle uses enhance the interactive experience of viewing his work–the iridescent pigments shift and scatter light in myriad ways… More »

CLAIRE BURBRIDGE, Pollination, 2018
Pen and Ink on Arches Paper, 10 x 10 Inches Framed
$1,800

This small pen and ink study is at the root of British artist Claire Burbridge’s latest exhibition Pathways to the Invisible at the Jordan Schnitzer Museum of Art in Oregon. For Burbridge, there is alway a “seed artwork” that leads to a show, and this was it. She made this drawing late last spring, sitting in nature, listening to the intense hum of bees and insects pollinating the oak tree flowers and wildflowers. A sensory piece that takes the perceived view of an insect drawn to the symbol of a flower, it also functions as a mandala more than a study of nature… More »

ERIC BUTCHER, P/R 800, 2017
Oil and Resin on Aluminum, 31.5 x 42.5 Inches
$10,000

For the past two decades, United Kingdom based Eric Butcher has developed a creative practice both reductive and rule governed. Working primarily with oil paint or graphite suspended in resin, a transparent monochrome is spread across the surface of his aluminum support and then stripped off, using a variety of metal blades drawn across the surface. This procedure is then repeated, slowly building up an accumulation of thin residues, creating tiny variations of unevenness on the edge of the blade which effect the density of paint as it is stripped away… More »

BRIAN DETTMER, Encyclopedia of All Nations, 2019
Hardcover Book, Acrylic Varnish, 11.25 x 8.75 x 2.875 Inches
$9,000

In this series by New York based Brian Dettmer, single reference books become unbound from their spine and lay flat on the wall as a rectangular machine full of compressed data. The book’s framing begins to fall apart as fragments of text, diagrams, and illustrations melt together into a single organism. The book becomes a game board, a mechanical component, or a geometric landscape of bits and bites of data. Layers of pages and chunks of information have been removed, as if deleted or erased from a hard drive. We are left with both a shell and a vessel, a geometric landscape, a device or a tool that can work to hold ideas and help solve new problems… More »

PETER HALASZ, Blue Haze, 2016
Oil on Panel, 33 x 39.5 Inches
$6,000

Los Angeles based Peter Halasz’s technique of layering glazed monochromatic colors, in both still life and portraiture, results in haunting, hallucinatory images that exist solely within their own realm. His images suggest a coming in, and moving away from, a conjured light that exists only in some half remembered dream. These psychologically charged tableaus rendered in seductive tones of ochre, petal pink, and foggy gray, set a mood where the familiar world ends and a less finite one begins. Taking his inspiration from sources as disparate as 19th century romanticism, the music of The Cure, and the Light and Space movement, the work remains distinctly his own… More »

ANDY HARPER, Untitled, 2010
Oil on Canvas, 17.75 x 21.75 Inches
$6,500

United Kingdom based Andy Harper’s original, and now abandoned, title for this piece was Double Slit, a reference to the double-slit experiment, which in modern physics is a demonstration that light and matter can display characteristics of both classically defined waves and particles. Whether conjuring a scene from a parallel botanical world, working abstractly or opening up a dialogue with an appropriated image, Harper’s method of painting is the same. A membrane of transparent paint is spread across the slippery surface of the support. Brushes and various implements are brought in contact with this sensitive and ever moveable layer of oily paint. Working in this only when wet technique provides a window of opportunity to act upon the surface… More »

MONICA LUNDY, Aurora, 2017
Coffee, Burned Paper and Charcoal on Khadi Paper, 55 x 38 Inches Unframed
$11,500

Aurora comes from the Monica Lundy exhibition Deviance – Women in the Asylum During the Fascist Regime, a rumination on the incarceration of Italian women and girls during the era of Mussolini, which was born of a year spent abroad in Rome, Italy. In this series of paintings, Lundy focuses on portraiture of inmates from the Psychiatric Hospital of Sant’Antonio Abate. She uses coffee, burned paper, and charcoal on handmade paper with a reductive hand: just as much as media is added, it is then subsequently removed, erased, or burned away… More »

MARIA PARK, Stack, 2018
Acrylic on Plexiglas, Mounted on High-density EPS, 36 x 30 Inches
$4,800

Maria Park’s Stack, which depicts a stack of sliced bread, refers to both data structures and to layering as an analog to the sedimentation of tacit knowledge and formal instruction. This work is part of Park’s ongoing exploration of elemental components of life in a technological society, which also includes work on the OCR-A alphabet, book titles, and on minerals, crystals, and elements from the periodic table. Her work examines ways that technology intervenes in our participation in the world, and explores human presence and agency within a media-reliant society… More »

MARK PERLMAN, Fade, 2019
Encaustic on Panel, 60 x 48 Inches Framed
$9,000

Bay Area based Mark Perlman works in the medium of encaustic: pigment mixed with hot wax, the oldest form of painting in civilization dating back to Egyptian Old Kingdom tombs. The paintings are built up layer over layer to create what the artist calls the underbelly, a luminous field of mid-tone color upon which he composes and builds his imagery. Perlman’s deep fascination with processes of change effected by time and nature’s gradual breaking down of form has developed into a profound meditation on loss and dissolution, restoration and retrieval, and the interaction between mutability and permanence… More »

GREGG RENFROW, Fantin-Latour, 2020
Polymer, Pigment on Cast Acrylic, 48 x 48 Inches
$12,000

Gregg Renfrow, based in the Bay Area, works on acrylic panels that allow light to filter through the pigment. The result is an illumination of color and form subtly projected from the surface of the work. While looking at this painting, the bands of color may appear suspended in real time and space. Renfrow achieves this discoloration, or dematerialization of the painted image, by pouring polymer over acrylic panels. He is very careful not to interrupt the runs of paint with the unpredictable effects of the human hand. The impression from the contact of carefully applied pigment and transparent support is that the process has occurred by itself through some unknown power or force… More »

MICHAEL RUSSELL, Untitled 48, 2019
Ink and Graphite on Paper, 9.625 x 11.625 Inches Framed
$2,000

Seeking to comprehend the passage of time remains a prevalent aspect of Los Angeles based Michael Russell’s work. Through drawing, he aims to expand the capacity for his own introspection, as well as for those viewing his drawings. Mark-making carried out in a linear fashion leaves behind an idiosyncratic trail; documentation of time spent. Russell views the trace of his hand less as proof of labor, and more as the intimacy of process being laid bare. Rhythm is explicit and builds up to exude stillness. Sweeping gestures are either absent, or mimed with smaller repetitive marks. Although the compositions are carefully engineered, the evolving techniques used to color them in are rudimentary… More »

BRIAN RUTENBERG, Looming Pine 6, 2018
Oil on Paper, 30 x 22.5 Inches Framed
$8,000

New York based Brian Rutenberg’s painting presents the landscape in the same way he learned to see it, by lying on his belly with his chin in the dirt, foreground so close he can taste it and background far away. No middle ground. Seeing from a bug’s-eye view instantly compresses space, like closing an accordion, and makes the viewer complicit in reconstructing the landscape; Rutenberg provides the close-up and the far away, and the viewer supplies the middle… More »

LYNDI SALES, Trying to break the cycle, 2018
Acrylic and Ink on Paper and Iridescent Foil, 29 x 18 Inches Framed
$2,800

South Africa based Lyndi Sales’s filigree cut works are inspired by shattered glass experiments, as well as net-like structures that occur in nature. Painting with clear water, and then carefully dropping India ink into the painted area, provides a process of surrender with the outcome always uncontrollable. That surrender for Sales encompasses a letting go of personality traits, our physical bodies, and any knowledge of what the future may bring… More »

CAROLE SILVERSTEIN, these languages of reverence, 2018
Acrylic Ink on Mylar, 48 x 36 Inches
$12,500

In this painting by Los Angeles based Carole Silverstein, a multiplicity of cultural ornamentations coalesce and collide to weave shifting perspectives and ambiguous spatial perceptions. Star interlaces and diamond labyrinth patterns derive from such sources as Leonardo Da Vinci, Islam, Morocco, Persia, and then within the Japanese isometric perspective known as blown-away roof style, taken from a 12th century handscroll of The Tale of Genji. While exploring the symbolism of the ornamentation and the spatial play, she seeks to elevate the feminine and a connection to the divine… More »

GILLES TEBOUL, Untitled 2047, 2017
Acrylic and Resin on Canvas, 19.7 x 15.7 Inches
$3,500

The work of Paris based Gilles Teboul is a perfect hybridization of elements as diverse as the minimalist aesthetic of artists such as John McCracken and Dan Flavin, and the delicate shading and fluorescent colors of the OS X. His ordered, shiny, lacquered paintings are composed of pigments bonded together by an acrylic resin which is absorbed into the canvas for many hours. Balanced on a flat plane, Teboul pours on paint which spreads over the surface without his intervention… More »

RAY TURNER, White Squall, 2014
Oil on Canvas, 44.5 x 45 Inches
$20,000

Inspired by the 19th century American romantic landscape painters and their quest for the sublime, Ray Turner explores man’s domination of nature or absence from it as if both occupied a dimension beyond the constraints of time and space. His paintings become metaphors for the voyage that moves us through life, while the scenes they depict exist in a state of suspended animation, poised in a balance of poetic tensions signifying the cosmic conflict of the ephemeral versus permanence… More »

AUDREY TULIMIERO WELCH, Holus Bolus (All at Once), 2018
Acrylic On Canvas, 42 x 48 Inches
$7,500

Audrey Tulimiero Welch’s abstracted layered paintings can be read as a metaphoric map that contains, in its embedded layers, personal stories and lived relationships of daily life. Holus Bolus has a unique genesis. In the fall of 2017, during an open studios event, Welch invited the public to collaborate with her on this painting. She selected three specific maps and had them available to transfer on the surface with a gel medium transfer technique. On the side of the painting, in pencil are written the names of her collaborators. The choice of maps coincided with two significant events, one personal and one global: she and her family had recently returned to the United States after living fifteen years abroad, and the Nigerian refugee crisis was in full swing. The maps selected included a topographical of her new hometown Tacoma, and the broad lines intersecting the picture plane in this painting was sourced from a map that traced the walking routes of Nigerian refugees traveling on foot from Niger to the Cameroon border… More »

SUZAN WOODRUFF, Properties of Heat III, 2016
Acrylic on Acrylic Panel, 24 x 22 Inches
$5,000

With a method of controlled chaos, Los Angeles based Suzan Woodruff paints works that depict natural occurrences, from the molecular to interstellar phenomena. Using gravity, pigment, viscosity and evaporation, she re-creates nature within her ethereal acrylic color explorations. The iridescent shimmering surfaces are a result of her studio practice; a rigorous physical process involving constant motion that keeps her open to the “visitations and apparitions” that inform the end result. The work can resemble patterns of the earth as seen from space, or the smallest cosmic eruption at the cellular level… More »

New commission in San Luis Obispo

Mon, 01 Jun 2020 21:48:00 GMT

Thrilled to announce Ox & Anchor Seascpae the completion of newly commissioned cut paper piece for San Luis Obispo Hotel. Project curated by Svea Lin Soll via Nancy Toomey Fine Art.

Pink Fern Machine

Fri, 25 Jan 2019 18:49:00 GMT

Pink Fern Machine is a site-specific cut-paper installation by artist Chris Natrop. Created precisely for the narrow dimensions of this store-front gallery, the work is an immersion of saturated atmosphere and fractured planar geometry. The space imagines a reality where Earthy matter gives-way to a place somewhere beyond Euclidean space.

Chris Natrop is Los Angeles-based visual artist known primarily for his room-sized installations and 2D wall-works made mostly of hand cut paper. Using paper, paint, lighting, and projection, Natrop transforms interior space into fully realized environments.

NEW! Permanent Site-Specific Wall Relief Sculpture for Hogan Lovells

Sun, 11 Mar 2018 19:02:00 GMT

New major commissioned sculpture now complete! Chelsea Meadow Swirl just went up in New York offices of Hogan Lovells. Spectacular time-lapse video by Patrick Grandaw.

Cut Up / Cut Out!

Thu, 01 Mar 2018 23:44:00 GMT

Travel exhibitions to the following museums:

Leigh Yawkey Woodson Art Museum, WI
March 2 - May 26, 2019

Amarillo Museum of Art, Amarillo, TX
July 6 - September 15, 2019

Pensacola Museum of Art
March 2 - June 17, 2018

Art Museum of West Virginia University, WV
July 6 - September 15, 2019

Huntsville Museum of Art, AL
October 12 - December 8, 2019

Pensacola Museum of Art, FL
March 2 - June 17, 2018

Ellen Noel Art Museum, TX
July 19 - October 14, 2018

Bellevue Arts Museum, WA
June 30, 2017 - October 22, 2017

Bedford Gallery, Walnut Creek, CA
December 18-March 5, 2017

Cut Up / Cut Out explores paper as an artistic medium and presents artwork that range in size from an intimate three inches to sprawling and complex installations This exhibition is a contemporary view of an ancient art practice that has evolved over thousands of years, which includes national and international artists, honors both tradition and innovation with a selection of over one hundred artworks by 51 artists representing diverse techniques and approaches to making art. Visually diverse, the artworks in Cut Up / Cut Out address our relationship with nature and environmental issues, personal and political narratives, architecture, fantasy, and abstract or formal ideas—with many intersections.

The art of cutting paper dates back thousands of years, with early artworks coming from 6th century China. Originally a decorative handcraft for women, Chinese paper-cutting eventually expanded into rural areas, becoming a staple at religious ceremonies and festivals. By the 14th century, paper-cutting spread to the rest of the world bringing in a new wave of folk art traditions. Cut Up/Cut Out honors both innovation and tradition with a selection of over 50 artists representing diverse styles and techniques by taking a contemporary view of an ancient art practice that has evolved over thousands of years.

Cut Up/Cut Out is an exhibition of local, national and international artists who explore the captivating methods of decorative piercing and cutting, using a wide range of media from paper and plastic to metal and rubber. The transformative nature of cutting into and through a surface provides endless possibilities for converting the material from opaque to transparent, from flat to sculptural, from rigid to delicate, and from ordinary to exquisite. The process and precision required for this method of art-making is laborious, technically demanding and always astonishing.

Visually diverse, the artworks in Cut Up/Cut Out range in size from an intimate three inches to sprawling and complex installations, and they represent an abundance of conceptual ideas. The artists address our relationship with nature and environmental issues, personal and political narratives, architecture, fantasy, and abstract or formal ideas—with many intersections.

This show features several large scale installations including: Margaret Griffith’s Coringa, a hand-cut, 12 foot long paper artwork that cascades from the ceiling, Adriane Colburn’s expansive multimedia piece Forest for the Trees, and a site–specific, interactive installation by Los Angeles artist Rebecca Niederlander. Cut Up/Cut Out also includes a group of artists who are drawn to cutting into unique or unusual materials such as tires, oil drums, and leaves.

The curator of this exhibition, Carrie Lederer, was inspired by Bay Area artist, Irene Pijoan’s (1953-2004) groundbreaking large-scale cut paper artwork and has dedicated Cut Up/Cut Out to her memory. Cut Up/Cut Out is a traveling exhibition that was organized by the Bedford Gallery and will travel nationally through 2020.

LAND

Fri, 26 Jan 2018 18:54:00 GMT

I will be speaking this Saturday, March 10 @ Irvine Fine Art Center

LAND Exhibition Walk-through | Saturday, March 10, 2-4 p.m.

Join us on Saturday, March 10, 2-4 p.m. for a chance to learn more about the work in the show and a conversation with artists Jennifer Celio, Virginia Katz and Chris Natrop.

The LAND exhibition was featured in Art and Cake magazine and the OC Weekly. Visit the links to read reviews of the show.

Jan. 20–March 10, 2018

Opening Reception:
Saturday, Jan. 20, 4–6 p.m.

IRVINE FINE ARTS CENTER
This exhibition focuses on works that seek to understand, highlight and critique our connection to land – from environmental issues to cultivation, development and mapping – and traces the change in that relationship from the past to the present and into the future. The multidisciplinary exhibition includes works by Jennifer Celio, Kiyomi Fukui, Virginia Katz, Michael Nannery, Chris Natrop, Christine Nguyen and Christine Weir.

Image credit: Chris Natrop, Of Night and Light and Half Light, watercolor, metallic powder, glitter on hand-cut paper, string, yarn, projected video, lighting. Dimensions variable, 2015.

Attending the opening reception for Land? Invite your friends to the event on Facebook by clicking here.

Group Hang

Wed, 01 Nov 2017 23:56:00 GMT

Aug 19 - Sep 16, 2017
GROUP EXHIBITION
New Work by Facebook Artists in Residence
@ The Lab, SF

Group Hang, FB AIR’s first public exhibition, with a celebration next Saturday, August 19, from 6–9PM at The Lab, located at 2948 16th Street in San Francisco. The exhibition will be on view to the public August 19–September 16, Weds–Sun, 12–7PM..

Group Hang New Work by Facebook Artist in Residence 2012–2017 August 2017

Silver Sun Super Nova

Tue, 01 Nov 2016 00:12:00 GMT

Oct 7, 2016-Feb 6, 2017
INSTALLATION
Silver Sun Supernova
@ Cooper Design Space

Come see, stroll through, stay awhile. The Cooper Design Space's lobby has been transformed into a fantastical, otherworldly environment open the the public.

Cooper Design Space lobby by Chris Natrop 2016

Silver Sun Supernova is a site-specific installation by artist Chris Natrop.

Made of hand-cut paper, acrylic paint, glitter, video projection, and audio, this multifaceted work reshapes Cooper Design Space's classic lobby space into a fantastical, otherworldly environment. The artist hopes to engage the public’s sense of wonder by providing this unexpected and transformative experience.

Chris Natrop, considered a cut paper installation artist, creates his work freeform and exclusively with a knife. His cut paper drawings are applied as framed works or utilized within three-dimensional installations. Past projects can be seen worldwide in museums, galleries, and various other public spaces. Natrop works out of the Bendix Artist Studios in downtown Los Angeles.

Custom framing provided by Finishing Concepts

Please contact Annie Wharton Art Consulting for sales inquiries:
323.942.9095 or anniewharton@gmail.com.