In Nathan in the Field, I paint my friend Nathan amid tall grasses, his face lifted toward the light. His love of being nude outdoors informs this study: the pleasure of feeling air and sunlight on skin, and the freedom to inhabit a landscape with ease.
Here, the field occupies most of the painting. Grasses partially conceal Nathan’s body, while luminous yellows and greens surround his figure beneath a dark tree line. Loose watercolor washes and directional marks suggest movement around his stillness. I wanted his presence to feel woven into the place.
This is a portrait shaped by friendship and by my affection for Nathan’s free spirit. It celebrates a moment of absorption in the world—the simple satisfaction of being outside, comfortable in one’s body, with room to breathe.
In Nathan in the Field, I paint my friend Nathan amid tall grasses, his face lifted toward the light. His love of being nude outdoors informs this study: the pleasure of feeling air and sunlight on skin, and the freedom to inhabit a landscape with ease.
Here, the field occupies most of the painting. Grasses partially conceal Nathan’s body, while luminous yellows and greens surround his figure beneath a dark tree line. Loose watercolor washes and directional marks suggest movement around his stillness. I wanted his presence to feel woven into the place.
This is a portrait shaped by friendship and by my affection for Nathan’s free spirit. It celebrates a moment of absorption in the world—the simple satisfaction of being outside, comfortable in one’s body, with room to breathe.