Text and line are central to your work. What draws you to that economy of language and form?
Text and line are how I think. I’m always writing or drawing, collecting notes, half thoughts, and photos of things that make me stop for a second. Being a visual hoarder is not something I chose, it’s just how my brain works. A large part of my practice is sifting through everything I’ve collected and trying to make something interesting and beautiful with it.
What I love about art is the looseness and freedom. Everything is open to interpretation. Words, symbols and color can shift meaning depending on who’s seeing them, and I like that someone can see something completely different in my work than what I was thinking when I made it. That space for people to find their own meaning is what excites me about making art.
Humor and wit often come through in your practice. How do you balance playfulness with seriousness?
Humor has always been a way to deal with the heavier parts of life. It’s not just about making a joke, it’s about taking something serious and turning it slightly so you can see it differently.
My drawings and phrases might seem playful, but underneath there’s usually something more vulnerable or contemplative. I think humor lets people in. It gives the work an openness that can carry more weight once you sit with it.
What did you want to explore by working within Tulip’s sculptural shape?
I liked how the shape already had its own personality, clean, modern, almost architectural. I wanted the drawings to move with it, not fight it. Working within a structure like that forced me to edit and respond in real time. You can’t just draw freely and then cut it to fit. The object dictates part of the conversation.
How do you see the relationship between drawing and object?
As a huge fan of folk art, I like when the drawing is the thing. When it becomes part of a functional object, it changes the context completely. There’s something powerful about taking a drawing off the wall and putting it into everyday life. It stops being distant and starts being more interactive, you move around it, turn on, touch, live with it.
Is there a phrase, line, or reference that guided this series for you?
The song “Look at what the light did now” by Little Wings.
Where do you imagine these works living once they leave your studio?
I imagine them in quiet corners of homes, places where someone might read, draw, or have a late-night conversation. I also like thinking they’ll exist in rooms full of movement and sound like a kids room.
In my own home, my wife and I have fun decorating all the small spaces in unique ways, have things cast strange shadows, layering objects and memories, and they become part of our routine without losing their magic. I hope people can do the same with these lighting objects in their spaces.
What does it mean to you to create work that people live with in their homes?
Home objects ask for coexistence. I like the idea that someone can turn on a light without thinking about it, and then one night they’ll really notice the shade. Art that lives in a home has time to unfold. It can mean something new every day. That’s much more interesting to me than permanence.
What inspired your design? What materials did you use? What was your process?
The inspiration came from my “Guidance Paintings” series and from Finnish ceramics I saw during a residency in Finland. Each shade is hand-painted and embellished with heat transfer appliqués. I experimented with different applications and paints , created a line plan, built layering techniques, and sometimes started over. The process felt both fast and meditative, I had to adapt frequently and allowed the imperfections to shine. You’ll see pencil marks or feel my thoughts in them. Each piece ends up unique, which feels right for a collection about light and change.
Are there any upcoming shows or projects you would like to promote?
Yes, I will be participating in a group show in December/January in Miami that opens during Art Basel. Stay tuned to my IG (@nathanbell) or studio newsletter for my details on that. I’m also working on a few book projects that will hopefully come out next year.
Get to Know Nathan Bell
Text and line are central to your work. What draws you to that economy of language and form?
Text and line are how I think. I’m always writing or drawing, collecting notes, half thoughts, and photos of things that make me stop for a second. Being a visual hoarder is not something I chose, it’s just how my brain works. A large part of my practice is sifting through everything I’ve collected and trying to make something interesting and beautiful with it.
What I love about art is the looseness and freedom. Everything is open to interpretation. Words, symbols and color can shift meaning depending on who’s seeing them, and I like that someone can see something completely different in my work than what I was thinking when I made it. That space for people to find their own meaning is what excites me about making art.
Humor and wit often come through in your practice. How do you balance playfulness with seriousness?
Humor has always been a way to deal with the heavier parts of life. It’s not just about making a joke, it’s about taking something serious and turning it slightly so you can see it differently.
My drawings and phrases might seem playful, but underneath there’s usually something more vulnerable or contemplative. I think humor lets people in. It gives the work an openness that can carry more weight once you sit with it.
What did you want to explore by working within Tulip’s sculptural shape?
I liked how the shape already had its own personality, clean, modern, almost architectural. I wanted the drawings to move with it, not fight it. Working within a structure like that forced me to edit and respond in real time. You can’t just draw freely and then cut it to fit. The object dictates part of the conversation.
How do you see the relationship between drawing and object?
As a huge fan of folk art, I like when the drawing is the thing. When it becomes part of a functional object, it changes the context completely. There’s something powerful about taking a drawing off the wall and putting it into everyday life. It stops being distant and starts being more interactive, you move around it, turn on, touch, live with it.
Is there a phrase, line, or reference that guided this series for you?
The song “Look at what the light did now” by Little Wings.
Where do you imagine these works living once they leave your studio?
I imagine them in quiet corners of homes, places where someone might read, draw, or have a late-night conversation. I also like thinking they’ll exist in rooms full of movement and sound like a kids room.
In my own home, my wife and I have fun decorating all the small spaces in unique ways, have things cast strange shadows, layering objects and memories, and they become part of our routine without losing their magic. I hope people can do the same with these lighting objects in their spaces.
What does it mean to you to create work that people live with in their homes?
Home objects ask for coexistence. I like the idea that someone can turn on a light without thinking about it, and then one night they’ll really notice the shade. Art that lives in a home has time to unfold. It can mean something new every day. That’s much more interesting to me than permanence.
What inspired your design? What materials did you use? What was your process?
The inspiration came from my “Guidance Paintings” series and from Finnish ceramics I saw during a residency in Finland. Each shade is hand-painted and embellished with heat transfer appliqués. I experimented with different applications and paints , created a line plan, built layering techniques, and sometimes started over. The process felt both fast and meditative, I had to adapt frequently and allowed the imperfections to shine. You’ll see pencil marks or feel my thoughts in them. Each piece ends up unique, which feels right for a collection about light and change.
Are there any upcoming shows or projects you would like to promote?
Yes, I will be participating in a group show in December/January in Miami that opens during Art Basel. Stay tuned to my IG (@nathanbell) or studio newsletter for my details on that. I’m also working on a few book projects that will hopefully come out next year.