Nathan Daniel Novack is a native to Kansas. He has been producing artwork for the past 23 years. He has observed many artists through his college experiences, classmates, and professors. After receiving his associates degree at Garden City Community College, he attended Kansas University where he studied graphic design then transitioned into art education. He received his Bachelors of Fine Arts and Bachelors of Science in Education from Fort Hays State University. Nathan has been teaching high school and middle school art for the past 14 years. Here, he has learned just as much from his students as they have learned from him. He is intrigued by the untapped talents and minds of the students when creating art. Believing there is art for everyone, whether two-dimensional or three-dimensional, Nathan enjoys observing student’s development into the realization of their gifts; this generates an ongoing need for art, no matter what their prior skills or experiences have been.
When viewing particular structures or scenes there is a sense of enlightenment, sometimes an unexplainable connection. More than just visually, the sense of smell, the feel of the temperature with wind, humidity and the tactile feel of the setting. These could be a collection of moments or a strand of time. The undefined curiosities of openings either darkened by the lack of light or lit from light shining through, which tend to lead to other openings and other findings. Who doesn't want to see what's inside based off of what is on the outside? Unless it looks like it could collapse on you, but even then, a peak might not hurt.
The endless ever-changing seasons of our surroundings no matter where you are, can be so appealing. What defines these transitions from one to the next. Why do we become more or less inspired of our pursuit? How temporary is it? Our focus shifts partly because of the seasons of the world and people around us. If it isn't broken then why fix it. What determines if it is functional or nonfunctional? These are the connections that I make with mankind, structures and our environment.
I believe the rural structures, its' life and scenes that compel me to paint contain more than just the structures themselves but a visual documentation of aesthetic integrity. Characteristically, they too go through seasons as humans experience. I want to incorporate tactile and visual textures to assist in the truth of these structures; their state of being, its surroundings along their function and purpose, generated stories, wear and tear. Compositional changes and adjustments are made for the essence of present and future fulfillment with the upholding of past aesthetics. Hoping to display the underestimation of kinesthetic importance with nature, breaking through eventually, as we have this built in need to seek the real thing on an abstract level. In the mistaken truth.
Growing up on a rural setting with minimal farm animals and structures, I developed this sense of observation and importance of the rural life. In assistance, I spent many years prepping and painting in and out of residential houses to work through a big portion of education. Here, on a large scale I developed an understanding of process, layers, color, lighting and texture, most importantly, problem solving. These experiences of painting and those improved skills were used to enhance the condition of structures. Now I want to depict the physical condition of structures that contain such character and rawness of the rural life through the visual arts. From the peeling paint to the wood rot to the rusted and fallen objects as well as financial turmoil. Stories we are, encountered and become through places like this as a wrinkle of time with the sense of purpose.