•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
30th anniversary
Saatchi Store
Current Exhibition

Nathan Cash Davidson

SELECTED WORKS BY Nathan Cash Davidson

Aphorism By The King To Destroy Forever
Nathan Cash Davidson
Aphorism By The King To Destroy Forever

2012

Oil on board

122 x 91 cm
So It Is Decreed And So It Shall Be Done
Nathan Cash Davidson
So It Is Decreed And So It Shall Be Done

2010

Oil on canvas

163 x 122.5 cm
Henry VIII strides out of the painting, his unwieldy gold chain glittering, his eyes staring glassily ahead, a severed female head held aloft behind him, and seems to intone the title of the painting itself - So It Is Decreed And So It Shall Be Done. If the title seems a bit too extravagantly theatrical to be genuine Tudor, it’s because it is: Henry’s dead eyes and tumbling jowls are those of his Madame Tussauds mannequin, painted by Nathan Cash Davidson in a style of semi-detached sarcasm. In Davidson’s paintings, historical and imagined narratives are told as though half-heard, half-understood, but the space in his works is conversely overstuffed, both gesturally and pictorially, like the dummy Henry with his enormous shoulders.
Angelic Fever
Nathan Cash Davidson
Angelic Fever

2010

Oil on board

40 x 30 cm
There’s a joyous abundance in Davidson’s paintings, a delight in the historical anachronism of the act of painting. In Angelic Fever, St Michael slams the Devil in the neck with a bendy pole, while a thicket of branches in the background (culled from an image found online of a snow-capped wood) struggles for pictorial supremacy. Disregarding pictorial niceties (anatomical accuracy, compositional logic, tonal consistency) means Davidson’s painting is invested with the immediacy of a story told by an excited child: words tumble out, in whatever order they happen to appear.
Nobody Can Stop The Wooden Top Boy
Nathan Cash Davidson
Nobody Can Stop The Wooden Top Boy

2008

Acrylic on canvas

76 x 60 cm
And in Nobody Can Stop The Wooden Top Boy, a scene from a surreal fairy tale written by the artist, a stag half-grimaces, half-grins at a stern older woman appearing by a waterfall: that sheepish, secretly delighted smile epitomises the gleeful picaresque of Davidson’s painted world.
The Executioner
Nathan Cash Davidson
The Executioner

2010

Oil on canvas

214 x 122 cm
Judith's Room 2
Nathan Cash Davidson
Judith's Room 2

2010-2011

Oil on canvas

120 x 90 cm
Text by Ben Street

Nathan Cash Davidson's BIOGRAPHY

Nathan Cash Davidson
Born in London, 1988.
Lives and works in London.



SOLO EXHIBITIONS


2010
Burlesque in which we've thrown it on its head, Parasol Unit foundation for contemporary art, London

2008
To Complete My Education, Hannah Barry Gallery, London


GROUP EXHIBITIONS


2009
The Poetry Marathon, Serpentine Gallery, London
Discerning Eye, The Mall Galleries, London
To Paint is to Love Again, Hannah Barry Gallery, London
Inspired, The Mitchell Library, Glasgow

2007
Degree Course, Wimbledon Art College, London
Building and Breaking: Drawing in Pencil, Lyndhurst Way, London
Experiments With Figuration, Lyndhurst Way

2006
Turtle Salon curated by Michael Shamberg, Chelsea Space, London