Nathan Eastwood was born in Barrow-in-Furness in September 1972. He studied Fine Art at Kent Institute of Art and Design from 2001-05 and then did his Masters Degree in Fine Art at Byam Shaw School of Art from 2008-09.
It was during Eastwood’s Masters Degree that he believed that the correct procedure for his development was to empty out his existing art practice off all references to the real world and reduce his paintings to painted monochromatic object and re-begin at zero point. The logic of grids, measurements and the monochromatic painted object and it’s dialectical, symbiotic relationship between the gallery was his priority and interest.
Eastwood abandoned the non-representational painted minimal monochromatic object and dedicated himself to producing a meticulous application of enamel paint on board within a realist schema which started in 2011 with a small painting titled Nook; a painted motif that depicts the artist sitting at the bottom of his stairs at home. His paintings now combine the tenets of minimalist aesthetic with the pictorialism of digital photography and photographic-ink jet prints.
His breakthrough showing of a moderate sized painting ‘Nicos Cafe’ exhibited in the East London Painting Prize 2014 won him (Inaugural winner) the main cash prize and a solo exhibition at the Nunnery Gallery. The winning painting went on to be owned by Goldhill family. He went on to enjoy a solo exhibition at the Nunnery and within this supportive environment he created a new body of work which displayed new painted motifs and new possibilities for future development.
These painted motifs are recognizable everyday scenes, the commonplace existence and ordinary experiences—two men reflecting on general matters, washing machine being loaded up or young youth, entering a building, cleaning the bathroom to mulling thoughts over a cup of tea. The subjects imply a narrative that could be a cutaway shot in from a kitchen sink drama or a visualization of some sort of narrative plot unfolding in an Allan Bennett or Robert Tressell novel; with nods towards Mass Observation and has subtexts of the UK’s Punk history: think of the Specials ‘Blank Expression’, or Sham 69 ‘I Don’t Wanna’.
The intensely atmospheric and melancholic paintings operate within the conceptual framework of photo-realism, yet the works reveal loose brush marks and surface imperfections such as trapped dust and hair under a seemingly shiny surface. In this way the paintings are fictional rather than strictly photo-realistic.