Nelson’s choice of materials also suggests to the viewer that her paintings be understood as emphatically feminist landscapes. She adds mascara and glitter, as well as items collected from her garden and home, such as burnt sugar, plant life, and beads, to the maximalist palette of her wax, oil, and ink. The works are not planned, and imagery arrives through accident, experimentation, and play as Nelson spray paints, stipples, draws and etches into the surface of each, coaxing a mood, a bit of light, or an impossible view. As the works unfold, the imagery toggles between abstraction and naturalism. Many of Nelson’s new works depict a barren, isolated landscape. Images are hazy, subject to the artist’s deft description of the fleeting effects of light and air, and depict the shifting nature of our world. She offers worlds that exist before and after us, and asks us to consider…
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