Nathaniel Robinson

Feature Inc.

Taking its cue (and deriving its name) from l’heure bleue, that fleeting moment of atmospheric ambivalence at dawn and dusk when daylight has not yet begun (or has just finished) drawing a world of legibility and clear distinction, Nathaniel Robinson’s New York solo debut, “Civil Twilight,” operated within a territory of formal, conceptual, and material indeterminacy. The suite of restrained sculptural scenarios—most consisting of some object or set of objects cast from pigmented polyurethane resin, occasionally augmented with found materials—was engaging if clearly transitional, finding the young artist similarly between: between things and arrangements, verisimilitude and deformation, materiality and meaning.

Possessing a technical proficiency that, thus far at least, outstrips his conceptual range, Robinson nonetheless has a knack for representational precision in the service of a certain

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