Nathan Walsh

His work bridges the temporal gap between his own perspectival space and Renaissance painter, Massacio’s Holy Trinity(1428), in which the painting became the standard for understanding perspective depth. Walsh, however, is not subjected to being defined as a master of Roman architecture, but rather applies the fundamental foundations of linear perspective to the modern urban space, creating colossal photo realist paintings that are evocative, bizarre, and radically intricate and elegant. 

Walsh accomplishes his pictorial feats by capturing photos of specific areas of a city that he decides to paint, establishing the photorealist aspect of his work. Interestingly, many of his architectural drawings are void of human interaction, creating an affinity for the buildings he photographs. The steep perspective and intricate details formulate a dystopic inhumane sensation that champions the modern urban vedutes over people. By emphasizing geometric abstraction and complexity within these urban contexts, there is a heightened existentialism that is posed as Walsh hesitantly considers human interactions within his artworks such that of his Transfiguration, 2024, or Aida, 2023, in which the human figures remain at the foreground of the pictorial space, and yet, succumb to the towering buildings that loom over them.

His work has been included in various galleries and museum exhibitions since 1995. Most recently, his work was exhibited at the European Museum of Modern Art in Barcelona, Spain (2024), an international show at the institution displaying urban landscapes in art.