at the back of the island

lambda print, 2007; 440 x 1000 mm, edition 5

at the back of the island
Bella and Bloom

lambda print, 2007; 330 x 600 mm, edition 9

Bella and Bloom
blossom on the Dodder

lambda print on matte, 2007; 220 x 300 mm, edition 9

blossom on the Dodder
sirens’ dillisk

lambda print on metallic paper, 2007; 610 x 1200 mm, edition 5

sirens’ dillisk
Coolmain Composition

archival print on watercolor paper, 2007; 21.5 x 35 inches, edition 6

Coolmain Composition
fallen leaves

lambda print, 2007; 1100 x 2000 mm, edition 3

fallen leaves
Garrettstown Strand

lambda print on metallic paper, 2007; 500 x 1000 mm, edition 5

Garrettstown Strand
composition with fruit and leaves

lambda print, 2007; 700 x 1000 mm, edition 9

composition with fruit and leaves
passage and position

lambda print on metallic paper, 2007; 160 x 200 mm, edition 9

passage and position
pilgrimage

lambda print on metallic paper, 2007; 350 x 700 mm, edition 5

pilgrimage
Tattered Gorse

archival print on watercolor paper, 2007; 18 x 35 inches, edition 6

Tattered Gorse
Piazza (after Giacometti)

lambda print on metallic paper, 2007; 475 x 1200 mm, edition 5

Piazza (after Giacometti)
tag and capture

lambda print, 2007; 310 x 700 mm, edition 9

tag and capture
waiting

lambda print, 2007; 445 x 1200 mm, edition 5

waiting

Landscapes and Icons

Landscapes and Icons
May – October 2007
Haydn Shaughnessy Gallery
Kinsale, West Cork, Ireland

Landscapes and Icons is a duo exhibition (alongside Paul LaRoque) with 14 new digital Compressionist prints. These were made through performative scans of the landscape in Dublin and West Cork, and published by the Haydn Shaughnessy Gallery.

Excerpts from the gallery’s press release:

“Nathaniel is a true innovator who has a remarkable artistic technique…. I’ve had the pleasure of watching him at work, performing his scans of the Irish landscape and making images none of us could have imagined. Here the human and machine are … collaboratively producing artworks of depth and complexity consistently.”

“They arrive through Nathaniel’s relationship with and understanding of the technology he uses and his … interpretation of the moments he spends in the company of his subjects. Something is happening here that I am sure we will one day reflect on and see as a pivotal moment in the history of technology and the image.”