Ryan Gerald Nelson Total Index, Core–2–Periphery Static ⌿ Anticipation ⌿ Visibility / Signal ⌿ Veil / Annihilation ⌿ Residue We are they, and they are us
E: studio (at) ryangeraldnelson.com
IG: ryangeraldnelson
PUBLISHING: eraeditions.art
Last update: 01 AUG 2024
E: studio (at) ryangeraldnelson.com
IG: ryangeraldnelson
PUBLISHING: eraeditions.art
Last update: 01 AUG 2024
Contact for price /
RosettesRosettesRosettes /
Inkjet print on paper; acrylic on museum board /
Composition: 35.5 x 50 in. (33.02 x 45.72 cm) [unframed dimension]
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RosettesRosettesRosettes [detail]
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Ex Core Always Core /
Sumi ink, grease pencil, and wax pastel on archival paper; Grease pencil and wax pastel on found paper /
Composition: 13 x 18 in. (33.02 x 45.72 cm) [unframed dimension]
Ex Core Always Core [detail]
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Signs of ourselves—dispersed /
Wax pastel on found paper; Colored pencil and wax pastel on found paper /
Composition: 13 x 18 in. (33.02 x 45.72 cm) [unframed dimension]
Signs of ourselves—dispersed [detail]
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inter lineas /
Grease pencil and wax pastel on found paper /
Composition: 13 x 18 in. (33.02 x 45.72 cm) [unframed dimension]
inter lineas [detail]
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Ecto/mycorr/hiza /
Sumi ink on paper /
7.5 x 11 in. (19.05 x 27.94 cm) [unframed dimension]
Ecto/mycorr/hiza [detail]
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Push grain /
Sumi ink, grease pencil, and wax pastel on found papers /
Composition: 13 x 18 in. (33.02 x 45.72 cm) [unframed dimension]
Push grain [detail]
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Petra/soma/glypheins /
Grease pencil and wax pastel on found paper; Sumi ink and wax pastel on found paper /
Composition: 13 x 18 in. (33.02 x 45.72 cm) [unframed dimension]
Petra/soma/glypheins [detail]
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Abraded /
Silkscreen print on archival paper /
30 × 44 in. (76.2 × 111.7 cm) [unframed dimension]
Abraded [detail]
Ground separation /
Wax on found paper /
7.375 x 12.4375 in. (18.73 x 31.59125 cm) [unframed dimension]
Ground separation [detail]
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Seen In Every Direction /
Acrylic, wax, digital prints, and copper nails on canvas; Sumi ink and pencil on ash frame /
46.25 × 65 in. (117.48 × 165.1 cm)
Seen In Every Direction [detail]
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C Interstice D /
Sumi ink, Flashe, and wax on archival paper /
30 × 44 in. (76.2 × 111.7 cm) unframed
C Interstice D [detail]
C Interstice D [detail]
—1 state╫
interstitial state/moment/╫
Void/╫
/Void╫
Of signal╫
No signal╫
There, and not╫
Inter-╫
In-ter╫
Stitch x stitch x stitch╫
-stitial╫
—2 state╫
╫╫╫
A state╫
X · X╫
B state╫
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Untethered, until it is not, until it is again /
Polyethylene plastics, grease pencil, Sumi ink /
80 × 40 in. (203.2 × 101.6 cm)
Untethered, until it is not, until it is again [detail]
Untethered, until it is not, until it is again [detail]
Untethered, until it is not, until it is again [detail]
Woven earth
Statement
I. Place as a means of connection
Where I call home is the very land that my Bdewakantunwan Dakota ancestors were forcibly exiled from in the mid-19th century. Six generations later, being the first in my direct family line to return to this specific geographic area, I join my cousins, my relatives, in playing my part to prove that the Bdewakantunwan Dakota people are still here, on this land, in many different forms, even despite the concerted actions and policies of the state of Minnesota to expel all Dakota people from within its borders.
This history has become an important factor in my own understanding of my dispersed identity and in connecting me to a worldview seen through an indigenized lens that better reveals our interconnectedness and dependency with one another and all life on Earth. Within the culture of the Oceti Sakowin (a confederacy of seven Native Nations of which the Bdewakantunwan are a part of) is the phrase Mitákuye Oyás’in, meaning “we are all related.” This phrase alludes to our human relations, but more importantly, Mitákuye Oyás’in reminds us that we are inextricably connected to our Earth and all life on Earth—the water, the plants, the atmosphere, the wildlife and insects, the masses of land, and much more. These silent nations as they’re called—these entities of our Earth without voices—sustain us in every regard and offer us knowledge, just as they rely on the protection that our voices and respect can offer them. Without them there is no us. We are they and they are us.
The concept and depth of meaning of silent nations has played a major role in strengthening my own ways of seeing and my inherent curiosity about the lesser noticed aspects of the world around me. These aspects exist in nebulous periphery spaces that I direct my focus toward as both an artist and guest of our Earth.
My turn toward the periphery, as both a visual and research driven methodology, is rooted in looking deeper, observing longer, seeking knowledge, and having gratitude for the divergent qualities of what can be found in the periphery.
I. Place as a means of connection
Where I call home is the very land that my Bdewakantunwan Dakota ancestors were forcibly exiled from in the mid-19th century. Six generations later, being the first in my direct family line to return to this specific geographic area, I join my cousins, my relatives, in playing my part to prove that the Bdewakantunwan Dakota people are still here, on this land, in many different forms, even despite the concerted actions and policies of the state of Minnesota to expel all Dakota people from within its borders.
This history has become an important factor in my own understanding of my dispersed identity and in connecting me to a worldview seen through an indigenized lens that better reveals our interconnectedness and dependency with one another and all life on Earth. Within the culture of the Oceti Sakowin (a confederacy of seven Native Nations of which the Bdewakantunwan are a part of) is the phrase Mitákuye Oyás’in, meaning “we are all related.” This phrase alludes to our human relations, but more importantly, Mitákuye Oyás’in reminds us that we are inextricably connected to our Earth and all life on Earth—the water, the plants, the atmosphere, the wildlife and insects, the masses of land, and much more. These silent nations as they’re called—these entities of our Earth without voices—sustain us in every regard and offer us knowledge, just as they rely on the protection that our voices and respect can offer them. Without them there is no us. We are they and they are us.
The concept and depth of meaning of silent nations has played a major role in strengthening my own ways of seeing and my inherent curiosity about the lesser noticed aspects of the world around me. These aspects exist in nebulous periphery spaces that I direct my focus toward as both an artist and guest of our Earth.
My turn toward the periphery, as both a visual and research driven methodology, is rooted in looking deeper, observing longer, seeking knowledge, and having gratitude for the divergent qualities of what can be found in the periphery.
II. Looking deeper:
The Image becomes a veil
Imagine the metamorphosis of the Image as it moves through the demands of mediated landscapes: its visage continually being pulled apart, its own skeletal matrix and the electro-biological tendencies of its vast amount of constituent parts intermittently exposed, ever performing acts of instant coalescence, compression, and degradation.
Its untethered particles,1 prompted to come into order, 2 maintain a relative degree of stability 3 but ultimately un-align themselves 4 and disperse.5 The Image transitions between these states, always shifting, its particles moving from a mercurial state, to stasis, to entropy.
A mirror is held to the Image and the vast apparatuses that facilitate it, fracturing the Image’s self-perceived notions of ethereality and seamlessness. What becomes clear is that the Image’s networked self has more in common with a biological organism—highly susceptible to its unforgiving ecosystem—than to a stable, always-on-call technological relic.
The Image, venerated, shifting, pushes up against its reality: A new world that has proven that the Image—highly compressed, politicized, deceptive, even iconoclastic by nature—exists in a perpetual state of precarity: its visual constitution open to many forms of manipulation, its meaning able to be rewritten many times over, often simultaneously, and its existence (digital or physical) certainly no guarantee.
1 Static
2 Anticipation
3 Visibility/Signal
4 Veil/Annihilation
5 Residue
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Earth to earth /
Silkscreen print on woven sheet of vinyl flagging tape /
30.75 x 45 in. (78.1 x 114.3 cm)
Earth to earth [detail]
passer/s/by
[custom composed pleasantly ambient sonically soothing door-open sound-gesture chimes]╫ / [[sound logo]] ╫
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Moment repeating itself /
Geami paper, synthetic rubber, spray paint, wax, acrylic ink, Flashe, Sumi ink /
45.5 × 64.5 in. (115.6 × 163.8 cm)
Moment repeating itself [detail]
Moment repeating itself [detail]
Moment repeating itself [detail]
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Gleaming between the obscure mass of other bodies /
Silkscreen print on archival paper /
Edition of 4 + 3 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Gleaming between the obscure mass of other bodies [detail]
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All things prior dissipate All things forthcoming percolate /
Silkscreen print on canvas /
45.5 × 64.5 in. (115.6 × 163.8 cm)
All things prior dissipate All things forthcoming percolate [detail]
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Voces mysticae /
Silkscreen print on archival paper /
Edition of 4 + 3 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Voces mysticae [detail]
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Field Disperse /
Polyethylene plastics /
19.5 x 24.25 in. (49.5 x 61.6 cm) [unframed dims.]
Field Disperse [detail]
Here and now, under this cloud—merging out of simulation and toward the Real—the hysterical image—image as apparition
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We brake down 23 superstitious pictures /
Silkscreen print on archival paper /
Edition of 5 + 4 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
We brake down 23 superstitious pictures [detail]
We brake downe 60 superstitious pictures
Signals among colleagues—marks becoming images—images becoming more real than real
EXHIBITIONS ░░░ 2023 ░ Groundwork, Dreamsong (Minneapolis, MN) ░░░ 2022 ░ Soft Burn—Hard Reset, Quarter Gallery, Regis Center for Art, University of Minnesota (Minneapolis, MN) ░ Jerome Early Career Printmakers Exhibition 2021–2022, Highpoint Center for Printmaking (Minneapolis, MN) ░ Moon Spiral Heart Attack, Dreamsong (Minneapolis, MN)
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Splitting Symbols /
Silkscreen print on canvas /
42 × 66.75 in. (106.7 × 169.5 cm)
Splitting Symbols [detail]
earth/masses never not projecting its image—trying to hold processes still—images infected by texts—seeking visualization but getting depiction
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Within/Beyond /
Silkscreen print on archival paper /
Edition of 4 + 3 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Within/Beyond [detail]
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Showing as a form of disguising /
Silkscreen print on archival paper /
Edition of 4 + 3 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Showing as a form of disguising [detail]
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For the image becomes a veil I /
Inkjet print on archival paper mounted to Dibond /
21.75 x 30 in. (55.24 x 76.2 cm)
For the image becomes a veil I [detail]
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As Sun/As Eclipse /
3-color silkscreen print with fluorescent ink on archival paper /
Edition of 4 + 3 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
As Sun/As Eclipse [detail]
[sold] /
Ventifact /
Etching and Sumi ink on plaster /
7.25 x 11.5 in. (18.4 x 29.2 cm) [unframed dims.]
Ventifact [detail]
Veil Soft Burn (9)
[sold] /
A Interstice B /
Sumi ink, Flashe, and wax on archival paper /
7.25 x 11.5 in. (18.4 x 29.2 cm) [unframed dims.]
A Interstice B [detail]
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Matr. Form C /
Silkscreen print on canvas /
45.5 × 64.5 in. (115.6 × 163.8 cm)
Matr. Form C [detail]
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100x—50x—10x /
Sumi ink, wax, oil pastel, colored pencil, and spray paint on archival paper /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
100x—50x—10x [detail]
[sold] /
HBO Altar /
Chalk, grease pencil, and pencil on papers; Wax on cloth /
46.5 × 44.5 in. (118.1 × 113 cm)
HBO Altar [detail]
hollowed out screen space—astronomical bodies—geomorphology—the graven image
An entanglement with our surroundings—a dissolving electro-apparition—ideas of ourselves, dispersed
🕐🕑🕖🕛🕠🕥🕒🕗🕜🕡🕦🕓🕘🕝🕢🕧🕔🕙🕞🕣🕕🕚🕟🕤
🕐🕑🕖🕛🕠🕥🕒🕗🕜🕡🕦🕓🕘🕝🕢🕧🕔🕙🕞🕣🕕🕚🕟🕤 (Shifted)
(After Bruce Conner)
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Mirror Imaging /
Grease pencil monoprints on archival paper /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Mirror Imaging [detail]
Mirror Imaging [detail]
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Mirror Imaging B /
Grease pencil monoprints on archival paper /
7.25 x 11.5 in. (18.4 x 29.2 cm) [unframed dims.]
Mirror Imaging B [detail]
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Ground—Air /
Silkscreen print on archival paper /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Geodetic—trig point—survey marker
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Fuse Range Relief II /
Polyethylene plastic, sumi ink, spray paint, chalk /
45.5 × 64.5 in. (115.6 × 163.8 cm)
Fuse Range Relief II [detail]
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m/Memory M/mirrors III /
4-color-process silkscreen print on archival paper /
Edition of 5 + 3 AP /
15 x 22 in. (38.1 x 55.88 cm) [unframed dims.]
m/Memory M/mirrors III [detail]
Schemata for a predicted year
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Palais en Passant /
Silkscreen print on archival paper /
Edition of 8 + 2 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Palais en Passant [detail]
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Indelible Omission /
PVC panel, ink /
30 x 40 (76.2 x 101.6 cm) [unframed dims.]
Indelible Omission [detail]
A surface made visible—hard glimmers—a period of digital erosion—suspended touch
[sold] /
B Interstice C /
Sumi ink, Flashe, and wax on archival paper /
7.25 x 11.5 in. (18.4 x 29.2 cm) [unframed dims.]
B Interstice C [detail]
Beamer variations—machine vision—parallax errors—diffraction
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For the image becomes a veil II /
Inkjet print on archival paper mounted to Dibond /
21.75 x 30 in. (55.24 x 76.2 cm)
For the image becomes a veil II [detail]
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The imperative to perforate [part of “Imperative series”] /
2-color silkscreen print with fluorescent ink on archival paper /
Edition of 5 + 2 AP /
11 x 15 in. (27.9 x 38.1 cm) [unframed dims.]
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Schemata /
Silkscreen print and spray paint on canvas /
45.5 × 64.5 in. (115.6 × 163.8 cm)
Schemata [detail]
a plant moment / a moment with a plant / a plant with a moment
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Matr. Form A /
Silkscreen print on archival paper /
Edition of 5 + 3 AP /
30 × 44 in. (76.2 × 111.7cm) [unframed dims.]
Matr. Form A [detail]
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m/Memory M/mirrors IV /
4-color-process silkscreen print on archival paper /
Edition of 5 + 3 AP /
15 x 22 in. (38.1 x 55.88 cm) [unframed dims.]
m/Memory M/mirrors III [detail]
A secret ecosystem
NFS /
Displaced Gaze (Volume Volume) /
Bound screenprints on newsprint paper /
9.5 x 14 x 2.5 in. (24.1 x 35.6 x 6.4 cm)
Displaced Gaze (Volume Volume) [detail]
Displaced Gaze (Volume Volume) [detail]
Displaced Gaze (Volume Volume) [detail]
Veil Soft Burn (14)
Peripheries X/Y/Z
3:31.76, MDR, I
3:31.76, MDR, II
3:31.76, MDR, III
3:31.76, MDR, IV
3:31.76, MDR, V
3:31.76, MDR, VI
3:31.76, MDR, VII
3:31.76, MDR, VIII
3:31.76, MDR, IX
3:31.76, MDR, X
3:31.76, MDR, XI
3:31.76, MDR, XII
3:31.76, MDR, XVI
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Two-Bust /
Dye sublimation ink on aluminum /
Edition of 5 + 1 AP /
23.5 x 41.5 in. (59.7 x 105.4 cm)
Contact for price /
Medium /
Silkscreen print on archival paper /
Edition of 5 + 3 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Medium [detail]
All materialsare gonna crumble
Veil Soft Burn (10)
language as a form of addiction—mediated/unmediated/demediated/intermediated—things that look a little wrong
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Threshed /
Pencil and fluorescent pigment on archival paper /
15 x 22 in. (38.1 x 55.88 cm) [unframed dims.]
Threshed [detail]
[edition sold out] /
Outer Imposition 8,9,16,1,12,5,4,13 /
Silkscreen print on archival paper /
Edition of 4 + 1 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Outer Imposition 8,9,16,1,12,5,4,13 [detail]
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m/Memory M/mirrors I /
4-color-process silkscreen print on archival paper /
Edition of 6 + 2 AP /
15 x 22 in. (38.1 x 55.88 cm) [unframed dims.]
m/Memory M/mirrors I [detail]
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Gaze Direct /
Silkscreen print on aluminum sheet /
20 × 30 in. (50.8 × 76.2 cm) [unframed dims.]
Gaze Direct [detail]
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Mossebilde /
Silkscreen print on canvas /
45.5 × 64.5 in. (115.6 × 163.8 cm)
Mossebilde [detail]
re set
liquid begets digital—looking that attempts to tame—yields[s] up (or returns[s])—look[ing] for what was unremarked—the optical unconscious
Contact for price /
Displaced Gaze (A haptic relationship to the image) /
Silkscreen print on paper /
Edition of 8 + 2 AP /
23.5 × 36.25 in. (59.7 × 92 cm) [unframed dims.]
The Silence (Tystnaden), 1963, dir. Ingmar Bergman
Persona, 1966, dir. Ingmar Bergman
Broken Embraces (Los abrazos rotos), 2009, dir. Pedro Almodóvar
Leaving the movie theater—absent screen space—sites of availability—lost in the engulfing mirror
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cc Enemy /
Silkscreen print on aluminum sheet /
20 × 30 in. (50.8 × 76.2 cm) [unframed dims.]
[edition sold out] /
Inner Imposition 2,15,10,7,14,3,6,11 /
Silkscreen print on archival paper /
Edition of 4 + 1 AP /
30 × 44 in. (76.2 × 111.7cm) [unframed dims.]
Inner Imposition 2,15,10,7,14,3,6,11 [detail]
Detail installation view of Variations of a periphery (2021/22) from the two-person exhibition Soft Burn—Hard Reset (Quarter Gallery at the Regis Center for Art, University of Minnesota, Minneapolis)
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Along-Track /
Ink, wax, and pencil on archival paper /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Along-Track [detail]
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INTRO/EXITUS /
Silkscreen print on canvas /
45.5 × 64.5 in. (115.6 × 163.8 cm)
INTRO/EXITUS [detail]
dry drawn blade scraped matter gathered flatbed captured wax
particles undoing—matter eclipsing—demonic forces of repetition—a refusal of legibility
An Amorphous Solid State at Various Densities
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m/Memory M/mirrors II /
4-color-process silkscreen print on archival paper /
Edition of 4 + 4 AP /
15 x 22 in. (38.1 x 55.88 cm) [unframed dims.]
m/Memory M/mirrors II [detail]
winter light hinting at spring
[edition sold out] /
Peripheries Soft Burn /
Silkscreen print on archival paper /
Edition of 2 + 1 AP /
30 × 44 in. (76.2 × 111.7 cm) [unframed dims.]
Peripheries Soft Burn [detail]
Contact for price /
Burnt /
Fluorescent pigment, acrylic medium, toner on paper, and Flashe on plaster /
7.25 x 11.5 in. (18.4 x 29.2 cm) [unframed dims.]
Burnt [detail]
Contact for price /
Make Ready Anno Domini I /
Silkscreen print on paper /
23 × 35 in. (58.4 x 88.9 cm) [unframed dims.]
