Press

Press

Ochi Projects Catalog Los Angeles
Matthew Stromberg
“Solomon’s works walk the line between attraction and repulsion, or as she says, between “reverence and kitsch.”... These are punk paintings — direct, in our face, muscular, and messy, cheekily thumbing their nose at good taste and order. They share a kinship with the works of a very different artist, Marilyn Minter, whose hyper-realistic paintings revel in a similar combination of glamour and trash, sensuality and revulsion.”
San Francisco Chronicle
Kenneth Baker
“Nellie King Solomon’s work fits no definition of painting. But anyone who wants to defend it as art must refer to the paintings of such people as Sam Francis, Morris Louis, and Helen Frankenthaler … Finally only the sheer unforced lushness of Solomon’s work--… the eye out for pleasure says yes to the drift, looseness and generosity of Solomon’s work.”
San Francisco Chronicle
Kenneth Baker
“San Francisco painter Nellie King Solomon wrestles with profoundly simple, central question in recent work at Brian Gross. How can we know a mark from a form? On what sort of control does expressiveness depend? Can materials or tools by themselves qualify or disqualify a work as “a painting”?... Visitors familiar with Solomon’s art will find her working with new authority.”
The Huffington Post
Cherie Louise Turner

“Almost a decade later, the work is stronger than ever. Solomon’s increased boldness is also evident in her changing pallet. ... The influence of Solomon’s interest in the environment, and the increasing degradation of it, is increasingly obvious. Gone are the delicate niceties earlier work; these paintings are brave, brazen, and intense”.

Art Practical
Matthew Stromberg
“For those who regarding the academic formalism of color field painting as a dead end, please consider Nellie King Solomon's current exposition…. Solomon uses brightly hued acrylics on eight-foot Mylar sheets to create luminous paintings that maintain attention between structure and accident. Solomon references the color field paintings of Morris Louis and Helen Frankenthaler…”
Art in America, Report from San Francisco
Stephanie Cash
“… a livelier installation of fluid painterly compositions on mylar by Nellie King Solomon.”
OCHIGALLERY
“I’m torn about posting this studio visit. The paintings are so fresh and good that I want to show them RIGHT NOW… they’re really just too good, so here you go:”
The Conversation Podcast
Host: Michael Shaw
Michael Shaw The Conversation Podcast, Ep. #113: The Conversation LIVE!  with– Katie Bode, Stephanie Pryor and Matt Stromberg, Recorded live before an audience in Nellie King Solomon’s SkyFuel Exhibition, OchiProjectsLA, LA, CA, 2015 http://theconversationartpodcast.libsyn.com/podcast/ep-113-the-conversation-live-with-katie-bode-stephanie-pryor-and-matt-stromberg
ArtBlitz Los Angeles
In “The Love of Driving” Nellie examines the relationship people have with their commute… Where the 405 meets the 10 is the worlds largest intersection, and therefore the world’s largest sculpture ... “I want to juxtapose the sublime abstractions, the lilt and drifts of paint and form, the AbEx, Action Paining, and the Color Field painting arenas that I’m known for with our competing physical and digital realities.”
Wallpaper Magazine, London
Trained in architecture, King Solomon paints on large, translucent acrylic surfaces with brilliantly coloured paints, which create oily abstractions: pools and swirling seepages of carefully controlled colour. ‘The slick paint both the attracts and repels, like oil spills or hot, toxic color fields,’ says King Solomon. The translucent surface allows the edges to disappear into the wall. ‘The wall misbehaves to reveal a painting, allowing the painting to become subversive architecture.’ You can see why such a radical but simple creative process would appeal to a designer like Béhar”.

BelleSF
Gabe Scott
“Love of Driving”... When we’re driving, we’re not doing one thing anymore. We’ve got eight screens in our minds, and I’m trying to live that out, and let that change the abstract space of paint, in the way it has changed our minds ... I’m having the sublime abstraction collide with the things you’re not allowed to paint about; freeways, lost friendships, money, fame, health, hubris, loss of control, and the art world itself.”
Wynn Resorts Las Vegas
Steve Wynn
“You never own any of the stuff,
 you just have custody.
 And frankly that’s enough.
 But then they’re meant to be share
d with everybody.
—Steve Wynn
San Francisco Chronicle
Kenneth Baker
“He’s a high modernist,” she said all “about shutting you out. I think of people have a lot of issues with that because those attitudes forms a lot of the way our world works. I have mixed feelings about it because I grew up in architecture. That sort of high modernism I both play off of and rebel against.”
San Francisco Chronicle
Kenneth Baker
“Unbecoming” and “Soon” a span of references from Henri Matisse (1869-1954) to Morris Louis (1912-1962) to David Reed shakes out of “Unbecoming” without forcing by Solomon… Solomon’s material decisions yield something that eludes most painters who work in this vein: the sense of color displaying itself. That sort of aesthetic power made Louis’s best work surpass even that of Mark Rothko (1903-1970). We have only begun to see what Solomon may make of it.”
art ltd
Cherie Louise Turner
“Solomon makes luscious, ephemeral large scale abstract paintings on Mylar, addressing issues of space and environment, control and movement. They are created in her light-filled Hunters Point studio, on a table using handmade tools or sometimes just gravity to maneuver the paint. Imperfect surfaces contribute to their creation”.
San Francisco Examiner
Anne Crump
“Nellie King Solomon, 29, a recent MFA graduate from the California College of Arts and Crafts, creates pieces she describes as “places more than paintings,” using large sheets of translucent mylar. The works featured in the show were created especially for “Introductions” expanding upon the work that won Braunstein’s attention.”
San Francisco Examiner
Anne Crump
“I want materials to do magic things,” she says — materials that react with other, that contain impurities, that blend to the other colors, that bleed ... she wants to generate feelings that “transcend the everyday.” She wants to capture the sensation she gets from skiing, or climbing out of the water after surfing, or even from driving ... “
Artweek
Debra Koppman
"Solomon is motivated by a desire to 'charge the empty space'."
Indie Theater Now
Ed Malin
San Francisco Chronicle
Kenneth Baker
“A few jump to the eye, such as a sleek new mixed-media abstraction on Mylar by Nellie King Solomon…”
Nellie King Solomon says, “Art chooses you, you don’t use art.” ... “California is a place where we are caught off guard, a place of gambling, chance, and change. I paint it.”

Square Cylinder
David M. Roth
“Organic abstraction ... Nellie King Solomon is a leading purveyor of the latter. In “Loud Cloud” ... Though the interlocking forms appear to be organic, they feel as artificial as the translucent lucent medium on which they appear. And it’s precisely that tension, between real-world allusion and overt artificiality that animates the work and ignites positive comparison to painters like Ed Moses whose work also mix precise composition with process accidents.”

Roadside Scholar
“I am falling into the delicious, foreboding abyss of these dynamic large scale (up to 8’ x 8’) works by California artist Nellie King Solomon… is not unlike the beginning's of the tornado.”
Art Daily
"Solomon uses unconventional materials to create luminous, shimmering surfaces. In places, the paint glitters as if sprinkled with diamond dust, while other areas appear corroded, as if dripped with battery acid. Close inspection reveals microcosmic topographies and tiny “geological eruptions.” The translucency of the mylar support lends the paintings a unique luminescence, “allow[ing] the edges to disappear into the wall and light to penetrate through clear pools of medium. The paintings subvert architecture, each pour and ring tears a hole through the wall.”
Western Interiors and Design
Author
Pebble Beach The Magazine
Carolyn Snyder
"The large-scale piece by San Francisco artist Nellie King Solomon sets the tone in the living room."
Sunset Mag
Street Art SF
Artsource
Natasha Boas
“In many ways abstract painting are fictional models. They render visible what we cannot otherwise see or describe. They propose a new real to be imagined ... Curator Natasha Boas and BAMPFA director Larry Rinder “What does it mean to think about abstraction?”
Vimeo
Tracy Ginsberg
Gigaverse
Simone Collins
When people ask Nellie if they should become an artist, her typical response is “Not if you can help it.”… In grad school, Nellie would wear headphones (without any music) just to keep people from talking with her. She would arrive in her school’s studios at 5pm as it started to empty out and work into the wee hours of the morning ... She turned out piece after piece, and made significant progress. As she puts it, “tuning your meditation into an occupation becomes a preoccupation.”
G
Gillian Segal Design
“Nellie King Solomon’s is an artist to this work recently I recently saw and instantly grabbed me … Her paintings are so fluid and elegant with just the right amount of drama … Painting on mylar, her work reflects, “experiences of great western landscapes, the shock of unabsored events. The slick paint resembles oil spills and hot toxic color fields: beautiful pictures of terrible things.”
The Project for Women
Lauri Levenfeld
Architectural Digest
"The architect, visual artist, Nellie King Solomon and musician Pat Gleason collaborate on the design."
Zyzzyva
Harvard Review
Architects Draw
Sue Ferguson Gussow
"The centrally placed trunk assumes an all-but-ghostly the presents in the negative space study of the intervals of the crossing limbs and branches. There is a remarkable flip between flatness and volume: volume is suggested by a very faint tracery that indicates markings on the bark and circling the trunk... Flatness is achieved by the equally inflicted dark contours that emphasize the puncture of space between the branches."
Der Freund
The Faraway Nearby
Rebecca Solnit
“Delicate, elegant, brown eyed Nellie, the painter I've known since she was in high school: twenty years later I’d been one of the few to notice at the opening of her first solo gallery show that she was also showing in another sense: she was pregnant... The baby had been born two months early… Nellie was fiercely devoted to her daughter and hardly concerned about the big scar of the C-section, though still a little shaky about an operation in which her guts had been laid aside on the table and there was a chance neither she nor her daughter would make it.”
Hollow City
Rebecca Solnit & Susan Schwartzenberg
CARLA - Contemporary Art Review Los Angeles
San Valley Express
BelleSf
Art in America
Ochi Projects - Q&A Painter to Painter Interview
Tomory Dodge & Nellie King Solomon
“The artist-to-artist studio visit is an event that offers the potential for magic; exceptionally creative minds meet, exchange brilliance, and for those of us who are not artist, we find ourselves wishing we could’ve at least been a fly on the wall during the encounter. Tomory: At a certain level of mark making painting is never conceptual, it’s actual. It can be thought of in terms of preverbal thought, but it’s not something that can be reasoned through beforehand. In this way it is the reasoning through. There is also the fact that any given painting will be primarily about painting itself before it’s about anything else … The image is only half of painting. The other half is the object. I’ve often thought of paintings as inherently contradictory for this reason. A painting is a space that is an object, a window that’s a wall… I think this is especially true for abstract painting … A painted image is tied to its physicality (much the same way we as humans are tied to ours). But I think it’s this relationship between the physical and ethereal that makes painting powerful.”