Natalie Dunham

Written By Contemporary Art Collectors

Natalie Dunham received her BFA in painting from Birmingham-Southern College, in Birmingham, AL in 2007 and her MFA in sculpture from the Maryland Institute College of Art, in Baltimore, MD in 2010. Dunham's artwork has been collected and exhibited both nationally and internationally. She currently lives and works in the United States, with an additional workspace in Europe.

Natalie, your work lives at the intersection of repetition, accumulation, and form. In an age where speed and instant gratification often define our culture, how do you see your methodical, process-driven practice acting as a form of resistance or meditation?

My artwork serves as a deliberate counterbalance to the fast-paced, instant gratification culture we live in, and celebrates the value of patience and dedication. Through repetition and accumulation, I create space for reflection and mindfulness, allowing viewers to engage with the subtle nuances of form and process. This approach challenges the immediacy often associated with contemporary culture, inviting a contemplative experience that emphasizes patience, presence, and the value of attentive craftsmanship. In this way, my work seeks to foster a moment of pause and introspection amidst the noise of modern life.

The numerical titling of your pieces strips away narrative and imposes a system. Is this an invitation for viewers to project their narratives onto the work, or is it a conceptual gesture about objectivity, order, and neutrality in the creative process?

Both. My studio practice revolves around the creation of 3-dimensional material studies/sketches, primarily composed of basic geometric shapes and lines through the method of accumulation. These minimal installations allow viewers to engage actively with the pieces, prompting individual interpretation and reflection on the significance of each element within the broader context of artistic creation. Each study is meticulously assigned a numerical title, serving as both a record of the materials and processes utilized and a narrative thread that connects the viewer to the evolution of my artistic journey. These equations contain numbers that share the total elements in each installation, how many cases/orders of the material I would need to recreate a piece that size, the type of finish or color, etc.

Many of your works are born from “ordinary origins,” yet the outcomes are distinctly refined and monumental. How do you navigate the tension between the raw materiality of your process and the formal elegance of the final compositions?

Whether it’s the texture, color, or shape, I select materials based on their inherent qualities. This approach fosters an authentic connection between the material and the concept, ensuring that the integrity of the original elements remains evident. At the same time, I employ careful refinement and deliberate manipulation to elevate these materials. The tension between their raw origins and the refined outcome is navigated through a mindful balance—respecting the material’s characteristics while shaping them with precision and intent. This process aims to highlight the transformative potential of simple, everyday elements, resulting in works that are both rooted in their origins and elevated through accumulation and the composition.

You mention that materials often lead your creative decision-making. Can you speak to a time when a particular material completely redirected the trajectory of a work or series? What does it mean, in your practice, to relinquish control to material?

I relinquish control by allowing the material’s inherent characteristics and behaviors to guide the creative process. That involves a willingness to adapt and respond to the material’s natural tendencies from the start, rather than forcing it into a preconceived idea. I have found this approach often results in more authentic and dynamic works, where the material’s own narrative becomes an integral part of the sculpture or installation.

Your background in both painting and sculpture offers a unique lens through which to view spatial composition. How do you think your foundation in two-dimensional work continues to influence the formal and conceptual architecture of your three-dimensional studies?My foundation in painting influences my approach to installation work, particularly in terms of spatial composition and conceptual development. The principles of color, form, and balance that I honed through two-dimensional work inform how I consider the relationships between objects within a space, emphasizing harmony and visual flow. Additionally, my background in painting encourages me to think about negative space, framing, and perspective, which are crucial elements in minimal art. This dual perspective allows me to create works that engage viewers both physically and visually, fostering a dialogue between the two-dimensional and three-dimensional realms and enriching the conceptual architecture of my practice.

You’ve spoken about the importance of “problem solving” in your studio practice. In what ways does your approach to solving material or spatial challenges echo larger philosophical or societal questions?

Problem solving serves as a metaphor for navigating limitations and seeking innovative solutions within cultural or environmental contexts. The act of addressing and overcoming obstacles within an artistic practice mirrors larger societal dialogues about understanding diverse perspectives, adapting to changing circumstances, and striving for genuine expression or authenticity. Ultimately, such artistic endeavors serve as a microcosm of the ongoing human pursuit to find innovative solutions, foster resilience, and maintain integrity within a complex and evolving world.

Your work has been exhibited in a wide array of institutional contexts, from embassies to museums to hospitals. How do you think the environment in which your work is shown alters its meaning or reception? Do you create with the site in mind, or is the work autonomous from context?

Both. The environment in which artwork is exhibited or collected can significantly influence its perception and interpretation. I see the site and the work as interconnected, each informing and enriching the other to create a layered experience for the viewer. In my practice, I consider the site as an integral part of the work’s dialogue, often designing or selecting pieces with the environment in mind. The location, the building or even the specific room can alter the material choice, color and scale of the piece. However, for non-commissioned works I also aim for a degree of autonomy, allowing the work to maintain its core conceptual integrity regardless of context.

Eva Hesse is cited as a major influence. What aspects of her conceptual ethos or material investigations resonate most with your practice, and how do you situate yourself within or beyond the minimalist tradition she helped shape?

As an artist working with minimal sculptures and installations, I found Hesse's approach to material investigation and her willingness to embrace ambiguity and process to be inspiring early in my career. Her focus on the tactile and experiential aspects of art aligns with my practice, which seeks to evoke emotional or contemplative responses through minimal forms. Additionally, I have been influenced by various minimal artists from the 1960s, such as Donald Judd and Carl Andre. This movement emphasized the importance of basic geometric forms, monochromatic color palettes, and the elimination of unnecessary details to highlight the essential qualities of the work. The aim was to achieve a sense of purity and objectivity, encouraging viewers to engage more deeply with the fundamental aspects of the art. My work closely relates to these principles. In our culture, I believe there is a vital need for simplicity—paring down to the bare essentials and fostering moments of patience, pause, and reflection.

Your sculptures evoke both fragility and strength, structure and impermanence. How do you see this duality reflecting contemporary realities, either personal, political, or ecological?

The duality of fragility and strength, structure and impermanence in my sculptures can be seen as a powerful reflection of contemporary realities across various domains. On a personal level, this duality can symbolize the delicate balance individuals navigate in their identities and emotional resilience amidst an ever-changing world. Politically, it can represent the tension between stability and vulnerability within societal structures, highlighting the transient nature of power and the resilience required to adapt. Ecologically, it can underscore the fragile state of our environment, emphasizing the importance of recognizing both its vulnerability and capacity for renewal. My work’s exploration of these themes invites viewers to contemplate the complex interplay between permanence and impermanence, encouraging a deeper understanding of the transient yet enduring aspects of our shared experience.

As someone who once aspired to be an athlete and now thrives as an artist, how do you see parallels between physical endurance and artistic persistence? Has your history with injury and recovery informed the way you approach repetition, failure, and transformation in your art?

There are indeed many meaningful parallels between physical endurance in athletics and persistence in artistic pursuits. Both require a level of resilience, discipline, and a willingness to push through challenges. Just as I had to train repeatedly to improve and recover from setbacks as an athlete, as an artist I often engage in iterative processes—revising, experimenting, and learning from failures—to refine my craft. The process of healing and rebuilding can foster a deeper understanding of resilience, encouraging a mindset that views repetition not as mere practice but as a vital part of evolution—both physically and creatively. Ultimately, for me, both paths have highlighted the importance of perseverance and the transformative power of persistence.

Contemporary Art Collectors
Previous

Judith Dupree Beale
Next

Mary Di Iorio