Steve Nelson was born and raised
in a Minnesota farm community, and received his undergraduate degree
at the University of Wisconsin, Madison. After ten years of group
shows and competitions, he had a two person show at the now defunct
Gasperi Gallery in New Orleans, LA, then dropped out of the art scene
shortly thereafter. He took a dream workshop in 1994 and for the next
six years attended regular sessions of dream therapy using the Senoi
Method of interpretation. Nelson is currently living in Philadelphia,
where he works as a secretary in the educational system while
continuing his inner work.
Artist's Statement
I have always been an avid dreamer and
seeker, a follower of the unconscious. These paintings contain images
and themes taken from my dreams. I use a process of active imagination
that gives me permission and freedom to play and create a dialogue.
The resulting images become maps that delineate the geography of my
inner experience -- visions of myself, often isolated, stiff and
uneasy, splitting and splintering off into fanciful scenarios. They
take on the wild imagination of a child, caught telling a lie, fully
denying what is blatant and obvious, inviting the viewer to peer into
this confusing off-limits presentation of my own tragic comedy whose
reality is too sobering and confrontational for me to face in any
direct and undiluted manner.
In creating the image of "Cotton
Mouth," many dreams became embedded and packed in. A dream of a
straight-jacketed figure is followed by one of being scantily dressed
in tight tights, camouflage panties and army boots. In
"Splice/Graft," the dominant theme comes from a dream of
trees bearing enormous Alice in Wonderland-like fruit the color of
lemons and limes. I make an exaggerated attempt to graft or splice the
two by tying pieces of the opposing fruit on the branch of the other.
This process, which I call "active
imagination," is guided by its own rules. The dream touches off
the vision, that image which the imagination carries on, attempting to
find resolution. I work until a painting feels settled or I'm just
exhausted with it. It is a process of giving up to rather than
controlling.