•  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

Nick Goss EXHIBITED AT THE SAATCHI GALLERY

The Near And Elsewhere
Nick Goss
The Near And Elsewhere

2009

Oil on canvas

180 x 300 cm
Like oases that shimmer promisingly in the distance Nick Goss’s scenes deny concrete resolution, existing instead on the fringes of memory and imagination. Deception of scale is important to Goss’s work: conveying the sensitivity of aggrandised watercolours, his canvases create a sense of disorientation, as if their infinite expanse might be an illusion, painted from miniature sets. This fragility resounds throughout Goss’s canvases as a metaphor for the theme of man against nature; each of his motifs suggests relics of a built environment, abandoned, overgrown, and decayed. In The Near And Elsewhere, Goss renders a piazza and monument in a jungle, disintegrating eerily in sepia tones. The faint image of the Mickey Mouse statue in the centre of the painting is from a photograph Goss took at a fairground deep within Bolivia’s Amazon Forest.
Calenture Fostic
Nick Goss
Calenture Fostic

2010

Oil on canvas

190 x 350 cm
Embodying a literary magical realism, Goss’s paintings allude to a placeless-ness and timelessness, a parallel world of mystical wonder. Calenture Fostic draws from America’s pioneer beginnings. The urban Europeans who settled the vast prairie wilderness were often overcome by a sickness or syndrome from the oppression of too much space; the word ‘calenture’ refers to a tropical illness or heat exhaustion. The carnival-esque figures looming like ghosts were inspired by a vintage photograph of a wandering circus troupe Goss found in a junk shop in California. Goss emulates a sensation of delirium in this otherworldly scene. As if overlaying one history with another, veneers of delicate washes are punctuated by dense impasto detailing, an effect that replicates the faded quality of old photographs and suggests a haunting presence.
Lacuna
Nick Goss
Lacuna

2010

Oil on canvas

180 x 300 cm
‘Lacuna’ is a term for a gap or a long pause, and in this painting Goss construes this idea of tension through formal elements. Goss develops his compositions from photographic collages, which he makes from his own snapshots and found images. These ‘sketches’ are often absurdly surreal, combining out of scale arrangements of unrelated objects: his studio floor might double as a desert, or a birdcage for a building. He then makes watercolour studies of these before beginning his canvases. This process allows for a slippage in translation, where his time-worn subjects become reduced and distorted through multiple interpretations – the end result bears little resemblance to the original source. In Lacuna, Goss heightens this sense of disjointedness using contradictory styles and textures. The thick geometric patterns that comprise the pool are the most concrete element of the image, while the landscape itself melts away in ephemeral gestures, lost to its own abstracted reflection.
Domino Foyer
Nick Goss
Domino Foyer

2009

Oil on canvas

180 x 300 cm
In Domino Foyer, Goss’s harlequin patterned terrain gives an air of grandeur to his deteriorating scene. The obscure angle of its vantage point places the viewer as a vulnerable witness to a carnival-esque wreck that appears to be both growing out of and collapsing into the backdrop. The ‘landscape’, which originated as a photograph of the artist’s kitchen taken with the camera positioned on the floor, becomes a duplicitous setting that confuses interior and exterior space. This idea of inbetween-ness – the intervention of the epic and intimate, psychological and physical, past and future – is echoed in the canvas’s surface through Goss’s painting technique. His planes of dreary colour, erased and eroded, become an unstable ground, where brush strokes defy gravity and float as independent manifestations. Minute details are rendered with crystalline effect, their intensity heighted by a craquelure pixilation that connotes virtual reality.






Other artists in
NEWSPEAK: BRITISH ART NOW

Caroline Achaintre    Tasha Amini    Hurvin Anderson    Maurizio Anzeri    Jonathan Baldock    Anna Barriball    Steve Bishop    Karla Black    Lynette Yiadom Boakye    Pablo Bronstein    Alan Brooks    Peter Linde Busk    Carla Busuttil    Nicholas Byrne    Gareth Cadwallader    Juliana Cerqueira Leite    Spartacus Chetwynd    Steven Claydon    Clarisse d'Arcimoles    William Daniels    Matthew Darbyshire    Graham Durward    Tom Ellis    Tim Ellis    Richard Evans    Tessa Farmer    Marcus Foster    Robert Fry    Ximena Garrido-Lecca    Jaime Gili    Nick Goss    Luke Gottelier    Kate Groobey    Anthea Hamilton    Anne Hardy    Gabriel Hartley    Nicholas Hatfull    Iain Hetherington    Alexander Hoda    Sigrid Holmwood    Systems House    James Howard    Graham Hudson    Dean Hughes    Des Hughes    Mustafa Hulusi    Paul Johnson    Edward Kay    Idris Khan    Scott King    Ansel Krut     littlewhitehead    Alastair MacKinven    Goshka Macuga    Ryan Mosley    Rupert Norfolk    Arif Ozakca    Mark Pearson    Dan Perfect    Peter Peri    Olivia Plender    Henrijs Preiss    Ged Quinn    Clunie Reid    Barry Reigate    Luke Rudolf    Maaike Schoorel    Daniel Silver    David Brian Smith    Renee So    Fergal Stapleton    Clare Stephenson    Caragh Thuring    Phoebe Unwin    Donald Urquhart    Jonathan Wateridge    John Wynne    Toby Ziegler

Nick Goss's BIOGRAPHY

Nick Goss
1981
Born in Bristol

Lives and works in London


GROUP EXHIBITIONS


2009
Daily Miracles, Josh Lilley Gallery

2008
Saatchi Online at Concrete and Glass festival, Beach Blanket and Babylon, October
Alexandre Pollazzon Presents, Alexandre Pollazzon Ltd, London, UK, October
Falling out of the Apple Tree, Wilde Gallery, Berlin, July 11th to August 9th
Through a Glass, Darkly, Kenny Schactner ROVE gallery, Lincoln House 33-34 Hoxton Square London N1 6NN. 26TH April-24TH May

2007
The Islanders, Nettie Horn Gallery, Vyner Street, London, 12th October- 11th December
DLA New Graduates Prize, London, April 24th, (Selected as overall Winner).

2006
Paths in the Snow, Image Contemporary Art Gallery in Arezzo, Italy, November 4th –December 4th
Art Below Zero in Westbourne Studios, London
England’s Dreaming, Bristish landscape painting, 7 Bedford Row, London.

2005
‘Morpho Eugenia’ in Galleria D’Arte Moderna in San Marino.