An exhibition of new works by London-born artist Nathan Cohen examines optical and cerebral interaction. The exhibition, at Annely Juda Fine Art from 22 February - 31 March 2001, poses the intriguing question: is what we see really what exists?
The series of 27 painted constructions have been created over the past two years and mark a radical transformation in Nathan Cohen's three-dimensional work. Each multi-layered piece, cut from a single sheet of wood and suspended in front of the wall surface, is painted in either vibrant colours or stark monochrome, black and white. The effect is startling, and for the viewer somewhat disorientating: space appears to bend, light dances across, behind and around the various cut-out and painted forms, edges blur or appear to cut sharply into the architecture of the gallery space. Edges and forms that appear formerly in the foreground then suddenly reverse.
As Professor Semir Zeki notes in his fascinating introduction t
o the exhibition catalogue, "Nathan has introduced a new element in this bi-stability, which is that of metastability. In his work, two neighbouring geometrical forms can have their apices simultaneously directed in opposite directions, one towards and one away from the viewer, a unique perceptual situation which will almost certainly excite neurobiological studies." In a revealing addition to the art/science dialogue, Professor Zeki's essay examines the way we see and how our minds work when viewing an image. His book Inner Vision was recently published by OUP.
38 year old Nathan Cohen's work is inspired by a wide range of architecture and crafts, including Japanese tea houses, colourful Navajo Indian rugs, the pottery of the American South West and Italian mosaics. These seemingly disparate influences are united by a common theme: each uses precise lines and dynamic interaction between shape and space to both emotionally and visually engage the viewer.