Nellie King Solomon makes paintings that interrogate painting. Appropriately set at The Sea Ranch, a road culture development, Ode to the Road employs unconventional materials and processes to chart geographic space, real or imagined, mapped or material. The physicality of where the rubber meets the road is how we get to our dreams. In Solomon’s Pours and Melts, road materials and colors are on the move over finely inked settlement maps depicting places of contemporary controversy. The ethereal and the physical are forever duking it out, and neither one is winning.

 

 

Image by Daniel Dent

Pours

One gallon of gesso, or tar, reflective highway-glass beads, or flesh-colored paint is poured from the ceiling down 8 ft of raw canvas, given two weeks to dry, and stretched taught.

Nothing Is Content Free
 

Melts

Frozen acrylic paint cubes ooze hot, toxic road materials and colors; tar, reflective highway-glass beads, silicon carbide, flesh-colored paint, and fluorescent undertones melt over finely inked settlement maps. 

 

Melt on Canvas

LED Melts

Frozen acrylic paint cubes melt hot, toxic road materials and colors over finely inked settlement maps in custom LED boxes with red silk cords, steel power balls, and dimmer nipples.

LED Melt













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