​BIO
b.1976, Lakewood, WA

EDUCATION
2002 M.F.A. University of Pennsylvania, Philadelphia 
1999 B.F.A. University of Washington, Seattle

SOLO EXHIBITIONS
2012 | A Thing in Itself, Vox Populi, Philadelphia, PA
2012 | Physical Speculations on a Future State, Prole Drift, Seattle, WA
2012 | Violet Strays (online exhibition June 15-21)
2012 | Decoys, Backspace, Peoria, IL
2010 | The Problem of Universals, SOIL Gallery, Seattle, WA
2010 | In the Garden, Telephone Room Gallery, Tacoma, WA
2009 | Nowhere, Anywhere, Everywhere, OHGE Ltd., Seattle, WA
2009 | Objects of the Mind, Mineral, Tacoma, WA
2008 | Ceramics, SOIL Gallery, Seattle, WA
2007 | Nicholas Nyland, Mineral, Tacoma,WA
2005 | Surge, Tacoma Contemporary Urban Art Installations in the Woolworth Windows, Tacoma, WA
2005 | Nicholas Nyland, Basil Hallward Gallery/Powell’s, Portland, OR

GROUP EXHIBITIONS
2012 | Four Approaches, Pulliam Gallery, Portland OR
2012 | Pots and Other Things, Cupcake Royale, Seattle, WA
2012 | Under Construction, SOIL Gallery, Seattle, WA
2012 | Paperworks, Southern Michigan College Art Gallery, MI
2011 | Three Abstractionists, Jack Davidson, Nicholas Nyland and James Boulton, Pulliam Gallery, Portland, OR
2011 | On Site: Summer Projects, Seattle Art Museum - Olympic Sculpture Park, Seattle, WA
2011 | An Empty Vase, Prole Drift Gallery, Seattle, WA
2011 | Scattershot, Eastern Washington University Gallery of Art, Cheney, WA
2010 | BAM Biennial 2010: Clay Throwdown!, Bellevue Arts Museum, Bellevue, WA
2010 | The Greater Tacoma Community Foundation Art Award, 2008-2010, Kittredge Gallery, University of Puget Sound, Tacoma, WA
2010 | Summer, Gallery at Aspira, Seattle, WA
2010 | From the Inside Out, with Heather Brammeier, Heuser Art Center, Peoria, IL
2010 | Champagne Truffles, Henry Art Gallery, Seattle, WA 
2010 | Parallel Universe, Grey Gallery, Seattle, WA
2010 | SOIL in Residence, Seattle Design Center, Seattle, WA
2010 | Search for Landscapes, SOIL Gallery, Seattle, WA
2010 | Clay? III, Kirkland Art Center, Kirkland, WA 
2009 | Atlas of Gifted Ideas, Henry Art Gallery, Seattle, WA
2009 | Introductions, Pulliam Gallery, Portland, OR
2009 | Hello, The Telephone Room, Tacoma, WA
2008 | Unusual Animals, The Helm Gallery, Tacoma, WA
2008 | Painting Pink Pajamas, Contemporary Art Center, Peoria, IL
2008 | SOIL@SOIL, SOIL Gallery, Seattle, WA
2008 | 35th Anniversary Exhibition, SAM Gallery, Seattle
2008 | The Prom; A Semi-Formal Survey of Semi-Formal Painting, Lawrimore Project, Seattle, WA
2008 | This is a Time Machine, with Ellen Ito, the Helm Gallery, Tacoma, WA
2007 | 8th Northwest Biennial, Tacoma Art Museum, Tacoma, WA
2007 | We Are Nature, Lakewold Gardens, Lakewood, WA
2007 | 9 to 5, Gallery Madera, Tacoma, WA
2006 | Exploded View, SOIL Gallery, Seattle
2006 | Drawings, Dessins, Zeichnungen, Basil Halward Gallery, Portland, OR
2006 | Mirage, SOIL Gallery, Seattle, WA
2005 | SOIL 1995-2005: A Retrospective, SOIL Gallery, Seattle
2005 | BaseCamp, juried by Laura Matzer, Enumclaw, WA
2004 | Induction, SOIL Gallery, Seattle
2004 | Masquerade, SOIL Gallery, Seattle 
2004 | PrintZero print exchange, Blue Door Gallery, Seattle
2003 | Living Room: Issues of Taste and the Politics of Decoration, Storefront 1838, New York, NY
2003 | Testimony to Matrimony/ Battle of the Bands, Neighborhood House, Philadelphia, PA
2002 | Independence, Neighborhood House, Philadelphia
2002 | 2002 M.F.A Thesis Exhibition, the Power Plant, Philadelphia

GALLERIES AND PROFESSIONAL ASSOCIATIONS
Pulliam Gallery, Portland, OR
Member, SOIL Artist Collective, Seattle, WA [www.soilart.org/members]

AWARDS AND HONORS
Artist Trust GAP Grant, 2010
Artist Trust Fellowship, 2008
Finalist, Betty Bowen Award, Seattle, 2008
Kamiyama Artist-in-Residence Program, Japan, 2005
Puget Sound Energy Purchase Award – City of Enumclaw, 2005
Dean’s Award grant, University of Pennsylvania, 1999-02
Royal College of Art Exchange Program, London, 2001
University of Washington Studio Art Program in Rome, Italy, 1997

COLLECTIONS
Cancer Care Alliance, Seattle, WA; City of Enumclaw, WA; City of Seattle, WA; Town of Kamiyama, Japan

BIBLIOGRAPHY
Brammeier, Heather, “Painting Pink Pajamas,” Painting Pink Pajamas, 2008 (exhibition catalog)
Grant, Adriana, “15 under 35,” Art ltd., May/June 2008
Graves, Jen, "Sweet Messes," The Stranger, Vol. 18, No. 29, April 2-8, 2009
Graves, Jen, “Last Resort,” The Stranger, Vol. 19, No. 30, April 1-7, 2010
Hushka, Rock, 8th Northwest Biennial, Tacoma Art Museum, Tacoma, 2007
Kangas, Matthew, "Exhibitions; Nicholas Nyland", Art in America, November 2012
Kangas, Matthew, “Bellevue Arts Museum Biennial 2010: Clay Throwdown,” Ceramics Monthly, April 2011
Nowhere, Anywhere, Everywhere, OHGE Ltd., 2009 (exhibition catalog)
Plus Five, PennDesign, Philadelphia, 2007
Panetta, Gary, “Installation Art,” Peoria Journal Star, April 17, 2010
Ponnekanti, Rosemary, “Lakewood artist adds dimension to already wild world,” The News Tribune, August 4, 2007: E2
Ponnekanti, Rosemary, “The Helm Gallery exhibit in Tacoma takes trip to colorful, cozy time,” The News Tribune, January 30, 2008
Quinn, Dawn, “Ceramic and Paper,” Tacoma Weekly, July 21, 2010
Richman, Elise, "Nicholas Nyland's Fall Into Color,” La Especial Norte, vol. 4, 2009
SOIL Artist-Run Gallery 1995-2005, SOIL Publications, Seattle, 2005
Van Nostrand, Jess, Profile of Nicholas Nyland, SOIL 2006, SOIL Publications, Seattle, 2006
Grant, Adriana, Profile of Nicholas Nyland, SOIL 2008, SOIL Publications, Seattle, 2008

Contact: nicholasnyland(at)gmail.com

HomeBio/ExhibitionsPaintingsSculptureInstallations

ARTIST STATEMENT
When asked to describe my work, I usually answer, “Abstract.” Unfortunately, I’ve found that answer is a great way to stop a conversation dead in its tracks. Something about abstraction seems to shut people down on a verbal level, which also explains why it is so hard to pin it down in writing (this statement not excepted). 

Abstraction’s “dumbness” is probably why I’m drawn to pursue it; it is generous and capacious, able to absorb and then release a multitude of references. In my case, references as disparate as Chinese scholar’s stones, Japanese gardens, early American decorative traditions, or seventies design. 

I intend to conjure a world or a space for imagination and reverie in my work that may manifest itself in miniature form or room sized wall drawing/painting installations. My work is driven by a fascination with the life of form, the nature of creation and the will to decorate. I feel reassured to borrow freely from our gloriously diverse visual culture because, as George Steiner reminds us, “there are no more beginnings”; we are playing with all the cards. The true creation, the art, lies in the transcendence of those parts into an animate whole.

-Nicholas Nyland