Halasz writes: "Nathanson’s shapes are bounded by edges that are sometimes straight, sometimes jagged, and occasionally rounded – all within the same picture. They look like pieces of paper that have been cut or torn, nor is this by chance. Rather, it’s because they’re based upon collages that constituted the preliminary studies, or modelli, for the paintings... At present, she relies upon her preliminary studies only up to a point, but sometimes edits unnecessary details out of them for the final version and/or experiments with freely-flowing, more accidental pourings."
Negro writes: "These ethereal paintings seem weightless in the way they evoke slow, sliding movement. She paints “the world of things,” in her own words, but her abstraction is assuredly non-objective. Bowtie (2012) has the closest visual connection between an object’s tangibility and Nathanson’s depiction of it. Two triangular orange planes converge at a minute point. She is fond of such compositional devices, allowing a mixture of soft and energetic colors to develop into a heightened moment of alluring tension."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.