Nathan Pendlebury

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Born in Chester in 1973, Nathan grew up in various places around the North West of England. He studied at Warrington Collegiate Institute (1990-1993) and John Moores University (1993-1996). He then stayed in Liverpool and has his studio there today. Group exhibitions include Chelsea International Fine Art Competition (Finalist) New York 2007, Best of Merseyside Conservation Centre Liverpool 2008, Alone Together Harris Museum Preston 2008, also prize winner in 2006 and 2008 Wirral Open Exhibitions Williamson Art Gallery, Pink & Blue Contemporary Urban Centre Liverpool 2009, Victor Pasmore Exhibition Contemporary Art Holdings 2011, Lancashire Open 2011 (2nd Prizewinner) Aerosol Liverpool 2016, Chroma Liverpool 2017.

Solo shows include Memoirs of a Pedestrian Liverpool 2009, Learning To Walk Warrington 2013 and Bolton 2014. Private collectors include Jake Bugg, Claire Rendall Design and John Lewis & Partners.

Nathan has this to say about his work:

I am a painter. I am not really an abstract painter, and I am not a representational painter either. Essentially I try to be something in between. I try to reach and create something that is in between the two, something that has associations but is not necessarily depicting something directly.

My current painting process is organic. With it I am not really interested in knowing where a painting is going. The painting always leads the way. Even though I have ideas and I help the painting along with this and that, almost always those ideas turn out differently. The colours and shapes seem to develop some meaning for me as they are put down. I do this with aspirations of creating something. It is about trying to create that something, and trying to create that ‘new glimpse‘ without having to strategise too much.

My painting process relies upon layers, and therefore I am not interested in finishing a painting in one sitting. I like to leave the painting and come back to it, and when I do come back to it it is ideal, as the painting often will appear new and fresh to me as if I am looking at it with new eyes as if I have not seen it before. Sometimes though I do have to pretend, then I can pick up the brush and make and start again.

If the painting arrives at a place that seems unexpected to me, then it quite often is then a point for me to stop, and for the painting to be considered complete.