Tim Nathan

Tim NathanRecent Works 2011

oil on boad 2011. 40cm x 36cm

oil on boad 2011. 40cm x 36cm

oil on boad 2011. 26cm x 26cm

oil on boad 2011. 26cm x 26cm

oil on board 2011. 76cm x 76cm

oil on board 2011. 76cm x 46cm

oil on board 2011. 122cm x 61cm

oil on board 2011. 165cm x 92cm

oil on board 2011. 165cm x 92cm

oil on board 2011. 92cm x 92cm

oil on board 2011. 76cm x 46cm

Commissioned by Roy Moed for Ranelagh Farm Polo club.

From recent works by Tim Nathan

Ranelagh Farm Polo TrophiesFine Art Pigmented Print on Hahnemühle Cotton Rag Paper

Polo is said to be one of the oldest ball games in the world. Of Central Asian origin, polo was first played in Persia and dates back to the 6th century BC. As with all equestrian pursuits polo has been celebrated throughout the centuries via painting, textiles and sculpture. Dating back from the time of the Lascaux cave paintings, Assyrian (time of Ashurbanipal, 645 BC) hunting reliefs, Mongolian/Iranian art works (12th- 14th century), and beyond to the present day, horses have always played an integral part in our devel-opment as human beings within our communities. In his works, Nathan establishes himself as a part of this continuity with our species’ longstanding bond with the equine.

(© Susan Patterson 2011)

Fine Art Pigmented Print on Hahnemühle Cotton Rag Paper. 30cm x 30cm Limited Edition 1/12

Fine Art Pigmented Print on Hahnemühle Cotton Rag Paper. 30cm x 30cm Limited Edition 1/12

Fine Art Pigmented Print on Hahnemühle Cotton Rag Paper. 30cm x 30cm Limited Edition 1/12

Fine Art Pigmented Print on Hahnemühle Cotton Rag Paper. 30cm x 30cm Limited Edition 1/12

7-12/12 etching on rag paper 2009. 40cm x 14cm

Limited edition etchings

no 1.

7-12/12 etching on rag paper 2009. 40cm x 14cm

no 2.

7-12/12 etching on rag paper 200922cm x 21cm

no 3.

7-12/12 etching on rag paper 2009. 40cm x 14cm

7-12/12 etching on rag paper 2009. 40cm x 14cm

no 4.

7-12/12 etching on rag paper 2010. 40cm x 17cm

no 5.

7-12/12 etching on rag paper 2010. 40cm x 17cm

no 6.

7-12/12 etching on rag paper 2010. 22cm x 21cm no 7.

7-12/12 etching on rag paper 2010. 22cm x 21cm no 8.

DRAWING OVERVIEW

These drawings are made from life. Tim’s draw-ings capture the rhythm and movement of the horses and riders and sometimes the results are extraordinary. This work provides Tim with an active way of looking at horses, a way that also informs his other work. These sketchbook draw-ings are unique. Tim uses them as reference, but they are also beautiful works of art in their own right.

DRAWINGS

Tim works directly from the subject in draw-ing and monoprint - through drawing he is able to capture the essential elements of movement, anatomy and the particular relationship between horse and rider.

Tim’s collaboration with many of Europe’s top dressage horses and their riders, including Emile Faurie and Kyra Kyrklund, has been a key ele-ment in the artist’s development.

“I work with the best subject matter I can. In my view, true talent is an ability to learn, which is different from an inherent gift which can rule out the capacity for self-criticism.”

Drawing is a crucial element of the process of making work. It is, Tim says, the artist’s means of discussion, of exploring a proposition. “It informs, it is a tool, it is language, it is a criterion for criticism. Through drawing you can come to terms with subject matter, and as a byproduct of that process sometimes make good work.”

“I look for something complete in my subject - it might just be a certain moment”, Tim explains. “There are two frameworks on which you can build a drawing: one is anatomical and the other is rhythmical. “When the horse and rider are going well there is no conflict in these things.”The results of this work can be accessed through the links on these pages.

“e Head Of Olympus” gold on bronze

Tim Nathan

“The Head Of Olympus” gold on bronze

Through over two decades of commitment to a variety of equestrian disciplines, he has gained an unmatched ability to capture the paradoxically disciplined and passionate nature of competitive horsemanship - the ineable elements of the combination between physical and intellectual, elements that lie at the heart of the complex relationship between humans and horses; a bond as old as time itself.

Internationally, his work spans as far as Europe, China, and the United States.

The process Tim is involved with artistically draws signicant parallels with the process of horsemanship itself. Each strives for balance, completeness and harmony to achieve the full potential of performance.