NICK GOSS

Dense atmospheres and melancholic landscapes are the subject of Nick Goss' paintings where the experience of the visible, captured by the camera, is purified and rectified by modelling a recognisable space as a remnant of the direct experience of the natural.
The paintings of Nick Goss, always retain in a specific, even if aleatory, present time, a particular movement and aperture. Without actually waiting for anything, the wait allows the touch of the eternal to come and go. To begin with, Goss images, objectify the process of vision and representation, and subsequently, make visible the individual experience of a specific place.
Of this space, they follow nature's silence and its rest, they trace the aesthetic experience to construct a semblance through the use of thresholds, interstices, and intervals.
Nick Goss (Bristol 1981), painter and unfaltering traveller, presents, with Paths in the Snow, a series of paintings that are both traces and memories of a recent journey to Barentsberg, the last Russian settlement in the Artic. On board of the Nordelicht, like a character escaped from some of the best pages by Joseph Conrad, Nick Goss left the waters of the Svalbard archipelago, between isolated and unforgettable lands surrounded by blue mountains and the first blocks of ice of the Polar Ocean, to arrive at the hamlet of Bartenstberg. Here the smut and the dust from the coal mines suddenly transform the snow and the moss of the landscape in an opaque black blanket.
Then, it isn't just the memory of Conrad that emerges from Goss' visual imagery but also crucial literary references that span from Halldor Laxness to the epic narrative of G.G. Marquez without forgetting the Scandinavian musical minimalism of Biosphere and Deathprod, as well as the melancholic ballads of Bob Dylan.