Lori Nelson . . . continued from page 1
After spending a year in Spain, Nelson
attended Brigham Young University -- for "a minute." The housing policies
didn't agree with her independence so she transferred to the University of
Utah where she was free to rent a one-bedroom apartment and live on her own.
She received a Florence Weir scholarship to the University of Utah and earned
Nelson values her college education, but she isn't too quick to attribute
much success to her university training. She had a difficult time with the
strict academic work in Paul Davis's class. Take one glance at a Lori Nelson
painting and you'll understand why. Most of her work is inaccurate and painted
from memory. She prefers her figures be less academic and purposely paints
her backgrounds in a child-like manner. Nelson is the first to admit her
buildings would fail the perspective test. "I like the idea that I'm painting
something I remember and it's kind of a gauzy, filtered memory. I've stared
really hard at trees and buildings to see how they are and how they work,
but I don't want to get too focused on the physical reality of something,
because that's not what I'm getting at. When I was weak in my drawing, Paul
Davis would say, ‘Before you can paint like a child, you need to paint like
an academic.' I think there's something to that because you understand what
you're doing rather than resorting to what you're doing." Nelson believes
her classes at the university proved to be a benefit, providing her with
a constant critique on her work.
When fist examining one of Nelson's paintings, a dark and dismal feeling
might envelop the viewer – a feeling that could be attributed to the greenish-yellow
palette the artist uses. She starts with one color and then spiders out from
there. It makes for an eerie light that she can't get enough of. Nelson is
well aware of the weird feeling it evokes: "My husband calls it dirty fish
tank lighting. There were two experiences I had when I saw that color. About
five years ago we were at an estate sale, and the previous owners must have
been smokers because the walls were this gorgeous color of yellow from all
the smoke and nicotine from the past fifty years." Another time she saw a
cloud that looked to be a similar color. "I always refer to that cloud and
that light whenever I think about painting the sky. I couldn't understand
how it got to be that way. The air was yellow. It was an eerie moment and
I always go back to that color."
The nature of her figures (often women) might also contribute to what
one might call a melancholy mood. Nelson paints primarily plump, fleshy figures
that control a considerable portion of the canvas. "Traditionally in art,
women have been big enough to fill up the space on a canvas. When I used to
paint them very small, it was about that person being frail or weak. I'd rather
they look substantial and strong." She used to paint figures in a way that
more resembled herself, but she started adding more layers to them so they
didn't necessarily come across as self-portraits. It is important to Nelson
that the viewers relate to her figures, enabling them to better identify
with the story she tells.
On the surface, the people she paints seem downhearted, but to Nelson,
some possess a comedic quality – in a dark way, of course. She has only one
explanation for those who comment on the somber nature of her work: "I run
each painting through the test: is this cheesy or is this not cheesy? And
I guess I concluded who needs another ‘Painter of Light?’" The subject matter
often involves a collection of personal impressions or how she remembers feeling
at a certain moment in time. She openly admits to the autobiographical nature
of her paintings. She can't avoid the fact that as her children get older,
the children in her paintings get older. Perhaps she finds humor in the figures
because, in retrospect, she finds humor in her own behavior when it comes
to being a mother. "Sometimes when people paint about motherhood it can be
really awful and sentimental. I want to paint about the reality of motherhood;
concerns and feelings that aren't always addressed."
Nelson addresses some of those concerns in a recent work titled, "In
the Distance." The mother in this scene is completely unaware of what's happening
with her children out in the hallway. She lives in a different reality than
her children at this moment, as she seems to be swept away in her own romantic
world. Nelson describes the dog as the only responsible figure in the painting.
"My dog will sometimes stare at me until I come downstairs and see what's
happening with the kids.”
Because she's a mother of two young children, Nelson doesn't have all the
solitude other full-time artists might enjoy. "Sometimes I tend to be isolated
anyway and my kids keep coming after me and coming after me. It's something
I need to work through because I feel some guilt about it – especially during
this age where there's a lot of attention on the stay-at-home mom. They're
pretty good about being on their own, but I do feel like I have people chasing
me all the time when they're around. But I feel like if I'm painting when
they're at home, I'm painting during their time. So if I do paint while they're
here, we negotiate a time when I can make it up to them." When her children
are up in the studio they can be a distraction, but she says they're very
uninterested in what she's doing. She claims if her kids came into the house
and she was baking, that would generate more interest and distraction, as
it would be a departure from normality.
"I pretty much let my kids raise themselves, much like the way I grew up.
That's more my tendency and I feel a little shame about that just because
there's so much in the media about parents being the anti-drug. I think,
‘oh, no, if I'm not the anti-drug, what's left?' But I have a feeling that
they're doing all right because I enjoyed growing up that way." Just like
her children, Nelson wants her paintings to become independent of her. "I
like the idea of starting out with a story and letting it walk away with
the notion that it can survive on it's own. That way I don't need to hold
on to it."
The Nabis painters Nelson so admires often signed letters with D.T.P.M.V.E.M.P.
which stands for dans ta paume mon verbe et me pensee. Translated into
English, this phrase states: "In your palm my word and thought." Lori Nelson's
word and thought consume her canvas, owning each color and contour. Her
imagery is thick with metaphor, emotion, and satire – revealing her innermost
feelings and desires. But Nelson chooses to remove herself from the story
and allow the viewer to interpret her work according to their own experiences.
“You want [the painting] to be able to tell it's own story whether it's
one that I started or one that the viewers are connecting on their own.
I like something that can reach people in a different way. That, to me,
gives a little bit of life to my paintings."
-- Laura Durham
Works by Lori Nelson will be at
March 19th though April 9th. To view more works, visit her website: