chase nelson

I’m an artist because I’ve been a creator since grade school I simply have a need, desire,
and dedication to create with in the traditional artist mode. I’ve no talent in expressing myself
in music yet my son is an excellent guitarists. I want to paint and find both frustration and
amazing satisfaction in the challenge of each. I’m inspired by the wilderness so when
‘I am in it and confronted by it ‘s inspiration the rewards of painting it add greatly
to the overall experience. I don’t pass it up casually.

My original concept was to express my passion and interest in what was before me, but
I’ve changed dramatically in the last few years to a more expressive individual statement
and one focused on the accidents the mediums provide. I don’t have to express my
feelings for my subjects in representational results as much any more. I let my
paint flow, I go for values and colors that accidentally come from a loose
application and as true and expressive a stroke as I can muster.
Much of what I’m doing now is abstract from nature. I plan to pursue this
with more and more vigor, but the inspiration for the work remains the samej
as my first impressions of wild places, wild species, and the challenge of
artistic expression through the application of oil, pastel, or watercolor.

My mediums of oil, watercolor or pastel provide the satisfaction in color and
I think I’ve improved greatly in my understanding of how each one can get me
to the finish I want. Lately the watercolor has been really inspiring as I’ve combined it
‘with ink, pastel, and salt to give some true impact to my abstracts. The oil saves me
so I use it for more representational work because I can fix it I need to and I am
thrilled by feel of heavy thick oil paint coming off a thin blade of the fine palette knife
or brush. I use palette knife painting as way to achieve the rich texture only oil allows
and my subjects dictate. Oil is perfect. The pastel results in moods, and a color
softness nothing else can achieve. I do it less but find it completely rewarding
at each attempt. I can change also as I need to so not only is it powerful color it
can be worked to a fine finish.


My art instruction, color wheel memorization, analogous with compliment experimentation has
helped me focus on essentially a palette of warm and cool colors for each primary, with orange,
cerulean, permanent green, and burnt zienna. I can have this palette in my head enough that
I can come back to a piece and see the color on the canvas. In short order I can match the
color I see. I often simplify my palette when I’m plein aire painting or doing watercolor in
the field but I always have a warm and a cool for each primary. I never use black as I can
mix a wonderful tone from crimson, green, and blue or a warmer dark by introducing
burnt Zienna. On rare occasions I will use a tube violet or extreme green or Prussian
blue. So far my palette has worked very well, but the challenge of getting the values from
this palette correct in a painting remains.

The artist whether he is in Idaho, Italy, or Manhattan has by nature a reflective quality to
share with himself and the viewer. It just comes out and it gives the view the exploration
of people, culture, and places, even in abstract art. In my case it’s very simply I have
a desire to share Idaho with my audience. I satisfy me first because I really can’t fake
it, then I hope what I’ve presented from my inspiration resonates with the viewer.
I’m will create something anyway, I’ll just do it as my mentor often says.

I hope to have completed a traveling one man art show in 5 years.
Wilderness inspirations will be a combination of representational and abstract work
inspired by the wildest places I can visit and the mediums that best help me state
my impression.